tJJ     .*... 


STUDENTS'   HANDBOOK 

OF  THE  FACTS  OF 
ENGLISH    LITERATURE 


Tflniform 


CENTURY  READINGS 

FOR  A  COURSE  IN 
ENGLISH   LITERATURE 


BV 

J.  W.  CUNLIFFE,  D.LiT. 
J.  F.  A.  PYRE,  PH.D. 

AND 

KARL  YOUNG,  PH.D. 

OF  THE  UNIVERSITY  OF  WISCONSIN 
1 100  PAGES.       PRICE,  $2.50 


STUDENTS'  HANDBOOK 

OF  THE   FACTS  OF       

ENGLISH     LITERATURE 


ARRANGED  IN  CLASSIFIED  OUTLINES 


COMPILED  BY 

J.  F.  A.   PYRE,  PH.D. 

THOMAS  H.  DICKINSON  PH.D. 

KARL    YOUNG  PH.D. 

OF  THE  UNIVERSITY  OF  WISCONSIN 


NEW  YORK 
THE  CENTURY  CO. 

1912 


Copyright,  1910,  by 
THE  CENTURY  Co 

Published,   September, 


NOTE. 

These  Outlines  are  designed  to  reinforce  a  series  of  lectures  and  to  present 
in  convenient  form  the  substantial  facts  of  the  history  of  English  literature. 
They  may  be  used  in  connection  with  the  Century  Readings  for  a  Course  in 
English  Literature  issued  by  the  same  publishers.  After  Outline  XII,  unless 
otherwise  stated,  all  dates  appended  to  the  titles  of  literary  works  indicate 
earliest  printed  publication. 


268134 


OUTLINES 


OUTLINE  I     /:/; 
The  Formation  of  the  English  People 

RETAIN  AT  THE  TlME  OF  C&SARS  INVASION,  55  B.  C. 

1.  Three 'Branches  of  the  Celtic  Race. 

a.  Britons,  or  Brythons,  in  the  Southeast. 

b.  Gaels,  or  Goidels,  in  West  and  North. 

c.  Caledonians  (and  Picts?),  in  extreme  North. 

2.  Celtic  Contributions  to  English  Literature. 

a.  To  the  language,  only  a  score  or  two  of  words. 

b.  To  English  literature,  many  romantic  stories. 

(See  Outlines  VI  and  VII.) 

ROMAN  OCCUPATION. 

1.  Roman  Invasions. 

a.  55  and  54  B.  C.,  two  invasions  by  Caesar. 

b.  43  A.  D.,  invasion  under  Emperor  Claudius.    Under  a  series  of  gov- 
ernors conquest  completed  by  82  A.  D. 

c.  410,  Roman  rule  withdrawn. 

2.  Roman  Occupation  (43-410)  and  English  Literature. 

a.  Language.     A  small  number  of  Latin  words  entered  the  language  as 
the  result  of  the  Roman  occupation.     The  important  influx  of  Latin 
words  into  English  occurred  later. 

b.  Literature.     Contributed  practically  nothing  to  the  content  of  Eng- 
lish literature. 

3.  Withdrawal  of  Romans  Left  Celts  as  Before. 

III.  ANGLO-SAXON  CONQUEST. 

1.  Invasions. 

a.  Jutes  (Denmark)  invade  Southeast,  449  A.  D.  (?). 

b.  Saxons  (Mouth  of  Weser)  invade  Southwest,  c.  477. 

c.  Angles  (Schleswig)  invade  East  and  North,  5th  century. 

2.  Permanent  Occupation  of  Invaders.     Celts  exterminated  or  driven  to 
West  and  North. 

3.  Anglo-Saxon  Conquest  and  English  Literature. 

(See  Outlines  II,  III,  and  IV.) 

IV.  THE  ENGLISH  LANGUAGE. 
i.  The  Name. 

Celts  in  Britain  called  both  invaders  and  their  language,  Saxon.    Writ- 
ers soon  began  to  call  both  language  and  people,  English,  possibly  be- 
cause Angles  outnumbered  Jutes  and  Saxons. 
Periods  of  the  English  Language. 

a.  Anglo-Saxon,  or  Old  English, —  500-1150.     (Alfred.) 

b.  Middle  English, —  1150-1500.     (Chaucer.) 

c.  Modern     English, —  I500-Present.     (Shakspere,     Milton,     Words- 
worth.) 


OUTLINE  III 
Anglo-Saxon  Christian  Poetry 

I.  INTRODUCTION  OF  CHRISTIANITY. 

1.  Roman  Christianity. 

King  ^thelberht  of  Kent  converted  after  the  arrival  of  Augustine, 
who  reached  England  in  597  (See  Bede,  Ecclesiastical  History,  Bk.  I, 
Chap.  25).  King  Edwin  of  Northumbria  converted  by  Paulinus,  a  dis- 
ciple of  Augustine,  about  627.  (See  Bede,  Bk.  II,  Chap.  13.) 

2.  Irish  Christianity. 

In  course  of  7th  century  conversion  of  Northumbria,  Wessex,  Mercia, 
and  Essex  secured  by  Irish  missionaries. 

3.  Council  of  Whitby,  664. 

Differences  between  Roman  and  Irish  Christianity  settled  in  favor  of 
Rome.  (See  Bede,  Bk.  Ill,  Chap.  25.) 

II.  THE  CEDMONIAN  POEMS. 

Bede  (Bk.  IV,  Chap.  24)  recounts  the  inspiration  and  poetical  activity  of 
Caedmon  (fl.  670). 

Junius  (Librarian  of  the  Earl  of  Arundel)  published  (1655)  a  MS.  con- 
taining four  poetical  paraphrases  long  ascribed  to  Caedmon. 

1.  Genesis.     Paraphrase   of   Genesis   to   story   of   Abraham   and    Isaac. 
Combination  of  two  poems,  Genesis  A   (lines  1-234,  852-2735)   and 
Genesis  B  (lines  235-851).    A  and  B  differ  in  style. 

2.  Exodus.     Free  paraphrase,  chiefly  of  story  of  Passage  of  Red  Sea  by 
Israelites.     Style    more    highly    colored    and    original    than    that    of 
Genesis. 

3.  Daniel.     Free  paraphrase  of  Book  of  Daniel,  Chaps.  I-IV. 

4.  Christ  and  Satan.     Consists  of  three  poems :    Fall  of  the  Angels,  Har- 
rowing of  Hell,  Temptation  of  Christ  by  Satan. 

The  only  poem  that  can  with  any  confidence  be  assigned  to  Caedmon  is 
the  so-called  Hymn  of  Ccedmon. 

III.  CYNEWULF.    An  English  ecclesiastic,  perhaps  a  bishop,  of  the  8th  cen- 
tury. 

1.  Christ, —  Advent,  Ascension,  Last  Judgment. 

2.  Elene, —  Legend  of  Helen,  mother  of  Constantine. 
2.  Juliana, —  Legend  of  Saint  Juliana. 

4.  Fates  of  the  Apostles. 

IV.  SCHOOL  OF  CYNEWULF. 

1.  Phoenix. 

2.  Judith. 

3.  Andreas. 

V.  RELIGIOUS  LYRICS. 

1.  Dream  of  the  Rood. 

2.  Bede's  Death  Song. 


OUTLINE  IV 


Alfred  the  Great  and  Anglo-Saxon  Learning 

I.  MONASTIC  LEARNING  (LATIN). 

1.  Aldhelm  (d.  709).     First  great  scholar  in  England. 

2.  Bede  (d.  735).     Greatest  scholar  of  the  Anglo-Saxon  period.    Lived  at 
the  monastery  of  Jarrow,  in  Northumbria.     Ecclesiastical  History  of  the 
English  People  (731),  treats  history  of  Britain  from  55  B.C.  to  731 
A.D. 

3.  Alcuin    (735-804).     Educated   at  York.     Especially   distinguished   for 
his  educational  services  under  Charlemagne. 

II.  Alfred  the  Great  (849-901;  King  of  Wessex,  871-901). 

1.  Life.     In  his  youth,  visited  Rome,  and  the  Frankish  court  of  Charles  the 
Bald.    From  travel  and  from  personal  relations  with  the  Continent,  Al- 
fred gained  a  cosmopolitan  point  of  view  reflected  later  in  his  adminis- 
tration of  the  kingdom  of  Wessex.     Resisted  inroads  of  the  Danes,  and 
by  Treaty  of  Wedmore  (878)  forced  'Danes  to  retire  north  of  Watling 
Street.     Took  a  personal  part  in  the  administration  of  justice.     Patron- 
ized learning;  increased  the  number  of  monastery  schools;  secured  the 
aid  of  foreign  scholars,  of  whom  the  most  important  is  Asser,  a  Welsh 
cleric,  who  wrote  a  Life  of  King  Alfred,  our  most  valuable  authority 
concerning  Alfred's  personality. 

2.  Literary  work.     Chiefly  translation. 

a.  The  Pastoral  Care,  by  Pope  Gregory  (Pope,  590-604).     A  guide  for 
those  in  ecclesiastical  authority.     Alfred's  own  Preface  indicates  his 
ideals  for  reviving  learning  in  England. 

b.  History,  by  Orosius,  a -Spanish  ecclesiastic  of  the  5th  century.     A 
universal  history,  widely  used.    Alfred  altered  the  original  freely, 
both  by  omission  and  by  addition.     Condensed  seven  books  to  six. 

c.  Ecclesiastical  History,  by  Bede  (see  above). 

d.  The  CojisnlaiWM^f^hilosoph^^^Q.et'h'ms  (d.  524?).     A  dialogue 
^"between  Boethiusand  Philosopny.  ^Central  doctrine  is  fatalism  and 

submission.     Alfred  translates  freely,  adding  occasional  facts,  pious 
observations,  and  vivid  figures  of  speech. 

e.  Alfred  took  an  active  part  in  maintaining  and  perfecting  the  Anglo- 
Saxon  Chronicle,  a  desultory  history  of  England  which  was  continued 
from  time  to  time  at  several  monasteries,  and  which  eventually  cov- 
ered the  period  60  B.  C.  to  1154  A.  D. 

3.  Alfred's  Contribution  to  English  Literature. 

a.  Revived  learning  in  England.     Learning  had  declined  in  Northum- 
bria, where  it  had  first  gained  distinction.     Largely  through  his  per- 
sonal effort,  Alfred  established  a  new  center  of  learning  in  Wessex. 

b.  Revived   the   native   language.     By   translating  distinguished   Latin 
works  into  Anglo-Saxon,  Alfred  gave  dignity  to  the  native  language, 
and  contributed  much  toward  establishing  a  clear,  idiomatic  English 
prose  style. 


i  • 


OUTLINE  V 

The  Norman  Conquest 

I.  ENGLISH  HISTORY  FROM  ALFRED  TO  1066. 

1.  Danish  Rule,  1016-1042. 

2.  Saxons  Restored.     Edward  the  Confessor,  1042-1066. 

II.  ENGLISH  LITERATURE  FROM  ALFRED  (d.  901)  TO  1066. 

^Elfric  (955-c.  1025).  Sermons, — written  to  a  large  extent  in  allitera- 
tive prose. 

III.  THE  NORMANS  BEFORE  1066. 

Rollo,  the  Northman,  settled  at  mouth  of  the  Seine  902.  Northmen  of 
Normandy  adopted  Christianity  and  the  French  language.  English  king, 
Ethelred,  married  (1002)  Emma,  daughter  of  Richard,  Duke  of  the 
Normans.  William,  sixth  Duke  of  Normandy  (after  1035),  first  cousin 
of  Edward  the  Confessor. 

COMING  OF  THE  NORMANS  TO  ENGLAND. 

1.  William's  Claims  Opposed  to  Those  of  Earl  Harold. 

2.  Battle  of  Hastings  (Senlac),  1066. 

3.  Political  Effect.     Feudalism  perfected  in  England. 

EFFECT  UPON  THE  ENGLISH  LANGAUGE. 

i.  Grammar.     Accelerated  dropping  of  inflectional  endings. 

(Cf.  '  of,'  in  place  of  genitive  case  ending.)  ^ 
2    Phraseology.     Many  phrases  modeled  on  French... 

(Cf   'to  bear'  arms,  witness,  etc.,  from  French  porter.) 
3.  Vocabulary.     Considerable  French  element  introduced. 

VI.  EFFECT  UPON  ENGLISH  METRICAL  FORM. 

Resulted  in  a  compromise  between  Anglo-Saxon  (irregular  number  of 
syllables,  alliteration,  accent)  and  French  (rime,  regular  number  of 
syllables,  accent  unimportant).  Result  seen  in  Chaucer:  rime  in  place  of 
alliteration;  accent  retained,  but  reduced  to  regularity. 

VII.  EFFECT  UPON  ENGLISH  LITERATURE. 

1.  Lyric  Poetry  (Provencal). 

2.  Tales  and  Fabliaux. 
Allegory. 

Lais.     (Marie  de  France,  early  I3th  century.) 
Romances.     (See  Outlines  VI  and  VII.) 


n 


OUTLINE  VI 
The  Rise  and  Flourishing  of  Romance 

I.  ROMANCE. 

1.  A  romance  is  a  fictitious  story  of  heroic,  marvelous,  or  supernatural 
incidents5  derived  either  from  history  or  from  popular  tradition,  and 
written  at  considerable  length,  either  in  verse  or  in  prose,  by  a  con- 
scious literary  artist,  for  refined  and  courtly  readers.     Romance  is  to  be 
distinguished  from  epic,  fairy  tale,  ballad,  legend.     Romances  arose  in 
the  I2th  century,  chiefly  in  France,  where  stories  from  the  best  known 
parts  of  Europe  and  Asia  were  gathered  and  given  romantic  treatment. 
From  France,  romances  were  distributed  to  other  countries,  often  to 
the  countries  from  which  the  original  stories  had  arisen. 

2.  Romance,  the  product  of  feudal  society. 

II.  ENGLISH  ROMANCES.  In  England,  romances  in  English  and  romances 
in  French  existed  side  by  side.  With  one  or  two  possible  exceptions,  Eng- 
lish romances  are  derived  from  French  romances. 

1.  Ultimate  Sources  of  English  Romances. 

a.  French  material.     Stories  of  Charlemagne,  Roland,  and  other  na- 
tional French  heroes.     In  France  these  stories  (chansons  de  geste) 
were  originally  national  epics.     In  England  the  same  stories  became 
pure  romance. 

b.  Celtic  material. 

1.  Breton  lais.     Short  romantic  tales  of  love,  magic,  and  adventure. 
Of  lais  the  most  distinguished  author  is  Marie  de  France  (fl.  early 
I3th  century),  a  native  of  France,  but  a  resident  of  England. 

2.  Arthurian  romances.     (See  Outline  VII.) 

c.  Matter  from  antiquity. 

1.  Story  of  Thebes. 

2.  Story  of  Troy. 

3.  Story  of  Alexander. 

4.  Story  of  ^Eneas. 

d.  English  (or  Scandinavian)  material.     Although  these  are,  probably, 
true  Germanic  stories,  and  although  they  were,  probably,  current  first 
in  Germanic  languages,  the  extant  English  romance  versions  have  in 
nearly  all  cases  come  through  a  French  intermediary. 

1.  Horn. 

2.  Havelock. 

3.  Guy  of  Warwick. 

4.  Bevis  of  Hampton. 

2.  Literary  Form. 

a.  Verse,  couplets,  stanzas,  alliterative  lines. 

b.  Plot  often  rambling  or  monotonously  long. 

c.  Picturesque  language. 

d.  Conventional  characterization. 


T 


OUTLINE  VII  -£   . 

Arthurian  Romance 


I.  THE  ULTIMATE  SOURCES  OF  ARTHURIAN  ROMANCE. 

1.  Annals. 

a.  Historia  Britonum    (c.   800   A.  D.),   usually   ascribed   to   Nennius. 
Latin.     Arthur  merely  a  valiant  leader  of  Britons. 

b.  Annales     Cambrics     (loth     century).     Latin.     Arthur     mentioned 
merely  as  a  successful  leader  of  Britons. 

2.  Celtic  Tales. 

i*  The  Mabinogion.  A  I4th  century  compilation  of  Welsh  tales.  Of 
these  tales  two  are  Arthurian  stories  of  pure  British  origin, —  Kulhwch 
and  Olwen,  and  The  Dream  of  Rhonabitiy, —  in  which  Arthur  is  a 
fairy  kind,  surrounded  by  uncouth  courtiers  who  have  magic  at  their 
commancL 

II.  DEVELOPMENT  OF  ARTHURIAN  ROMANCE. 

1.  Geoffrey  of  Monmouth:    Historia  Britonum  (c.  1137).     Lptin.     Using 
'  a  very  ancient  book  in  the  British  tongue,'  Geoffrey  developed  Arthur 
into  the  central  figure  of  the  Historia.     Brilliant  king,  world  conqueror. 
No  Lancelot,  Tristan,  Holy  Grail,  or  Round  Table. 

2.  Metrical  Chronicles,  Based  Ultimately  upon  Geoffrey's  Historia. 
-f.     a.  Wace:     Brut  (1155  A.  D.).     French  verse. 

Added    (i)    Round  Table:    (2)    details  concerning  the  Passing  of 
Arthur, 
b.  Layamon:     Brut  (c.  1200).     English  alliterative  verse. 

Based  upon  Wace's  Brut.    Added  (i)   fairy  element;  (2)  making 
and  properties  of  the  Round  Table. 

III.  ARTHURIAN  ROMANCES. 

1.  Cycle  of  Merlin.    A  magician  closely  associated  with  Arthur. 

2.  Cycle  of  Gawain.    Arthur's  nephew.     The  most  frequent  single  figure 
in  Arthurian  romance.     In  early  romances,  Gawain  is  the  gentleman 
par  excellence    (see  Sir  Gawain  and  the  Green  Knight}.     In   later 
stones  (see  Malory  and  Tennyson)  he  became  'a  reckless  and  irrev- 
erent knight.' 

3.  Cycle  of  Lancelot.     Not  connected  with  the  original  Arthurian  tradi- 
tion.   Lancelot  first  appears  as  the  lover  of  Queen  Guenevere  in  the 
Conte  de  la  Charette  of  Chretien  de  Troies  (fl.  c.  1160). 

4.  Cycle  of  the  Holy  Grail.     In  origin,  the  grail  probably  a  heathen  magic 
vessel.     Original  hero  of  the  grail  quest  was  Gawain,  later  superseded 
by  Perceval,  and  by  Lancelot's  son,  Galahad. 

5.  Cycle  of  Tristan.     Story  of  Tristan  and  Iseult  not  originally  connected 
with  Arthurian  tradition. 

6.  Cycle  of  the  Death  of  Arthur.     (See  Outline  XII.) 

IV.  Chretien  de  Troies.    French  courtly  poet  (fl.  c.  1160).     Wrote  (in  whole 
or  in  part)  six  Arthurian  poems;  Erec  and  Enide,  Cliges,  Conte  de  la 
Charette,  Ywain,  Tristan,  Perceval. 


OUTLINE  VIII 

Early  Middle  English  Literature 

I.  ANONYMOUS  LITERATURE. 

1.  Romances.     (See  Outlines  VI  and  VII.) 

2.  Lais.     (See  Outline  VI.) 

3.  Religious  and  Didactic  Works. 

a.  Proverb  poems.    Proverbs  of  Hendyng  (c.  1300). 

b.  Debates.    Debate  of  Body  and  Soul  (c.  1200). 

c.  Sermons. 

d.  Legends  of  saints.     Golden  Legend  (i3th  century). 

4.  Tales. 

a.  Oriental   tales.    Dame  Sirith    (i3th   cent.).     See   Chaucer's  Mer- 
chant's Tale  and  Manciple's  Tale. 

b.  Fabliaux.     Popular,   pointed,   bourgeois   anecdotes.     See   Chaucer's 
Miller's  Tale,  Reeve's  Tale,  Friar's  Tale,  and  Sumnour's  Tale. 

c.  Pious  Tales.     Exempla, —  tales  inculcating  a  moral  or  religious  prin- 
ciple ;  miracula, —  miracles  of  saints.     See  Chaucer's  Prioress's  Tale. 

d.  Beast-fables.     See  Chaucer's  Nun's  Priest's  Tale. 

5.  Lyrics. 

a.  Religious.    A  Good  Orison  of  Our  Lady  (c.  1210). 

b.  Popular.     Alysoun  (c.  1300). 

6.  Allegory.     Roman  de  la  Rose  (i3th  century).     See  Chaucer  (Outline 
IX). 

II.  AUTHORS  PRECEDING  CHAUCER. 

1.  Layamon:     Brut  (c.  1200).     (See  Outline  VII.) 

2.  Orm  (fl.  c.  1200)  :     Ormulum, —  an  unfinished  series  of  paraphrases  of 
the  Gospels  of  the  ecclesiastical  year,  with  homilies. 

III.  CHAUCER.     (See  Outlines  IX  and  X.) 

IV.  CONTEMPORARIES  OF  CHAUCER. 

1.  Piers  the  Plowman.    Long  ascribed  to  William  Langland. 

An  allegorical  poem  composed  and  revised  at  different  times  during  the 
period  1362-1398,  probably  by  .some  five  different  writers.  The  larger 
part  of  the  original  poem  probably  by  a  single  author,  whose  Christian 
name  was  Will,  and  whose  surname  may  have  been  Langland  or  Lang- 
ley.  The  poem  consists  of  three  visions :  Vision  of  the  Field  Full  of 
Folk,  Vision  of  Piers  the  Plowman,  and  Vision  of  Do-well,  Do-bet,  and 
Do-best.  Written  in  alliterative  verse. 

2.  John  Gower  (c.  1325-1408).     Friend  of  Chaucer. 

Confessio  Amantis  (1386-90).  A  series  of  more  than  a  hundred  stories 
arranged  in  a  '  frame,'  to  illustrate  the  seven  deadly  sins.  Simple,  di- 
rect narration.  Regular,  polished  riming  verse.  Gower's  Tale  of 
Florent,  Tale  of  Appius  and  Virginia,  and  Tale  of  Constance  embody 
stories  found  in  Chaucer's  Wife  of  Bath's  Tale,  Physician's  Tale,  and 
Man  of  Law's  Tale  respectively. 

3.  John  Wyclif.     (See  Outline  XXX.) 


OUTLINE  IX 
Chaucer:     Life  and  Works 

I.  LIFE  OF  GEOFFREY  CHAUCER  (c.  1340-1400). 

Born  in  London  about  1340.  Son  of  a  vintner.  1357,  attachedTO  House- 
hold of  Edward  Ill's  son,  Lionel.  1359,  served  in  English  army  in  France, 
and  taken  prisoner.  1367,  granted  life  pension  for  services  as  valet  in 
King's  household.  1372-73,  first  diplomatic  mission  to  Italy.  1374,  held 
office  connected  with  customs  of  port  of  London.  1377,  diplo- 
matic missions  in  Flanders  and  France.  1378,  second  journey  to  Italy 
in  King's  service.  1382,  held  another  office  connected  with  customs. 
1385,  member  of  Parliament  for  Kent.  1389,  Clerk  of  King's  works  at 
Westminster.  1390,  Clerk  of  King's  Works  at  Windsor.  1394,  granted 
an  additional  pension  of  20  pounds  a  year.  1399,  on  accession  of  Henry 
IV,  Chaucer's  pension  again  increased.  1400,  Chaucer's  death. 

II.  CHIEF  POETICAL  WTORKS  OF  CHAUCER. 

1.  French  Period  (to  1373). 

a.  Romance  of  the  Rose,  a  translation  of  part  of  Le  Roman  de  la  Rose, 
a  French  allegorical  poem  written  in  the  course  of  the  I3th  century. 
Probably  Chaucer  wrote  only  the  first  part  of  the  English  translation. 

b.  Book  of  the  Duchess  (1369-70). 

Written  as  a  memorial  to  Lady  Blanche  (died  Sept.,  1369),  wife  of 
John  of  Gaunt  (Chaucer's  patron).  Shows  influence  of  French  alle- 
gorical love  poetry. 

2.  Italian  Period  (1373-1385). 

a.  Troilus  and  Criseyde  (c.  1383). 

Based  upon  Boccaccio's  poem,  Filostrato,  from  which  a  considerable 
part  is  translated  literally. 

b.  Parliament  of  Fowls  (c.  1382). 

Probably  celebrates  events  of  the  courtship  of  Richard  II  and  Anne 
of  Bohemia  (daughter  of  Emperor  Charles  IV),  who  were  married, 
Jan.,  1382.  Shows  both  French  and  Italian  influence. 

c.  House  of  Fame  (c.  1379). 

Shows  influence  of  French  love  allegory,  of  Dante,  and  of  Virgil. 

3.  English  Period  (1385-1400). 

a.  Legend  of  Good  Women  (c.  1385,  and  at  various  times). 

Series  of  nine  'legends'  (Cleopatra,  Thisbe,  Dido,  Hypsipyle  and 
Medea,  Lucretia,  Ariadne,  Philomela,  Phyllis,  Hypermnestra),  in- 
troduced by  a  Prologue  based  upon  French  love  allegory. 

b.  The  Canterbury  Tales.     (See  Outline  X.) 

III.  PROSE  WORKS  OF  CHAUCER. 

i.  Translation  of  Boethius'  Consolation  of  Philosophy  (c.  1380).     (See 

Outline  IV.) 
*     2.  A  Treatise  on  the  Astrolabe  (1391). 

3.  Chaucer's  Tale  of  Melibeus.     (See  Outline  X.) 

4.  Parson's  Tale.     (See  Outline  X.) 


OUTLINE  X 
Chaucer:     The  Canterbury  Tales 

I.  PLAN  OF  THE  CANTERBURY  TALES. 

1.  Literary  Parallels. 

a.  Boccaccio:  Decameron. 

b.  John  Gower:  Confessio  Amantis.     (See  Outline  VIII.) 

c.  Giovanni  Sercambi  of  Lucca:  N&yelle  (c.  1375). 

d.  Proces  of  the  Seven  Sages. 

2.  120  Tales  Proposed.     24  written  (not  all  finished). 

I.  SUGGESTED  TABULATION  OF  THE  CANTERBURY  TALES. 
i  .First  Day,  April  17, —  London  to  Dartford. 
^TCnight.     (Based  upon  Boccaccio's  Teseide.) 
Miller.     (A  fabliau.) 
Reeve.     (A  fabliau.) 
Cook.     (Unfinished.) 

2.  Second  Day,  April  18, —  Dartford  to  Rochester. 

Man  of  Law.     (Based  upon  Trivet's  Anglo-Norman  Chronicle.) 
Shipman.     (A  fabliau.) 
"'Prioress.     (A  legend.) 

CHaucer,  two  tales:  Sir  Thopas  (in  verse),  and  Tale  of  Melibeus  (in 
prose). 

Monk.     (Short  stories  of  misfortunes  of  famous  persons.) 
Nun's  Priest.     (A  beast  fable.) 

3.  Third  Day,  April  19, —  Rochester  to  Ospringe. 
Physician.     (Tale  of  Appius  and  Virginia.) 

u-~  Pardoner.     (A  fabliau.) 

Wife  of  Bath.     (A  fairy  tale.    Arthurian  background.) 

Friar.  -  (A  fabliau.)     - 

Somnour.'    (A  popular  anecdote.) 

Clerk.     (From  Petrarch's  Latin  rendering  of  a  novella  of  Boccaccio.) 

Merchant.     (Tale  of  January  and  May.) 

4.  Fourth  Day,  April  20, —  Ospringe  to  Canterbury. 
Squire.     (An  unfinished  romance.) 

«--  Franklin  (A  laif) 

Second  Nun.     ('The  legend  of  St.  Cecilia.) 
Canon's  Yeoman.     (A  tale  exposing  alchemistic   impostures.) 
Manciple.     (Based  on  Ovid's  fable  of  Apollo  and  Coronis.) 
Parson.     (A  prose  sermon  on  the  seven  deadly  sins.) 


21 


OUTLINE  XI 
Later  Middle  English  Literature 

I.  IMITATORS  OF  CHAUCER. 

1.  English. 

a.  John  Lydgate  (c.  1370-0.  1450). 

/y  -^t>    i.  Troy  Book.     Translation  into  English  verse  of  Guido  delle  G 
lonne's    Latin    Historia    Troiana    (1287).     Incidental    praise    < 
Chaucer. 
f-    2.  Fall  of  Princes.     Adapted  into  English  verse   from   Boccaccio 

De  Casibus  Virorum  lllustrium.     See  Chaucer's  Monk's  Tale. 
*  3.  Temple  of  Glass.     See  Chaucer's  House  of  Fame. 

4.  Lives  of  Saints. 

5.  Story  of  Thebes.     A  continuation  of  Chaucer's  Canterbury  Tale 
b.jrhomas  Occleve  (c.  1368-0.  1450). 

i.  La  Male  Regie  (c.  1406).     A  poem  of  penitence. 
X2.  Regiment  of  Princes  (1412).    Advice  to  Prince  of  Wales  (afte 
ward  Henry  V).     Contains  praise  of  Chaucer. 

2.  Scottish. 

va.  King  James  I  (1394-1437).- 

The  Kingis  Quair  ('  The  King's  Book/  c.  1423).  In  the  7-line  stanz, 
riming  ababbcc,  used  by  Chaucer  in  Troilus  and  elsewhere.  Chat 
cerian  phrases. 

*   b.  Robert  Henryson   (c.  1425-0.   1500). 

1.  Fables.  , 7-line  stanza,    ^W" 

2.  Testament  of  Cresseid.     Sequel  to  Chaucer's  Troilus  and  Criseyd 
>  c.  William  Dunbar  (c.  1460-0.  1530). 

1.  Golden  Targe.     Contains  praise  of  Chaucer. 

2.  Lament  for  the  Makers.     Places  Chaucer  first  on  the  roll  of  En^ 
lish  poets. 

3.  The  Thistle  and  the  Rose.     Theme  is  marriage  of  James  IV  an 
Margaret  Tudor   (1503).     7-line  stanza. 

II.  THE  END  OF  THE  MIDDLE  AC;ES. 

i.  Sir  Thomas  Malory.     (See  Outline  XII.) 

y    2.  William  Caxton   (c.  1422-1491).     Translator  and  printer. 

After  having  engaged  in  trade,  in  translating,  and  in  printing  on  Cor 
tinent,  set  up  his  press  (1476)  in  Westminster,  near  Westminster  At 
bey;  here  he  printed  some  71  works.  His  translation  of  the  Recueil  dt 
Histoires  de  Troye  of  Raoul  Lefevre, —  the  first  book  printed  in  Englisl 
—  appeared  about  1475,  at  Bruges.  The  first  dated  book  printed  i 
England  is  Dictes  and  Seyings  of  the  Philosophers  (1477). 
-  3.  John  Skelton  (c.  1460-1529).  Tutor  of  Henry  VIII. 

a.  The  Book  of  Philip  Sparrow.     Lament  for  a  pet  sparrow.     '  Ske 
Ionian  metre '  consists  of  short  lines,  usually  of  three  accented  sylk 
bles,  which  rime  in  couplets,  triplets,  or  quartets. 

b.  Bowge  of  Court.    7-line  stanza. 

c.  Garland  of  Laurel.     Allegory.     Fundamental  motives  found  in  Chat 
cer's  House  of  Fame  and  Prologue  to  Legend  of  Good  Women. 

4.  Stephen  Hawes   (c.  1475-0.  1523). 

a.  Pastime   of  Pleasure.     Allegorical,   didactic   poem.     Although   it   i 
written  largely  in  7-line  stanza  and  contains  praise  of  Chaucer,  it  i 
not  conspicuously  influenced  by  Chaucer. 

b.  Example  of  Virtue.     Allegorical,  didactic  poem. 

23 


OUTLINE  XII 

Malory's  Morte  d' Arthur 

1.  SIR  THOMAS  MALORY  (c.  1400-1471). 

Malory  was  *  a  gentleman  of  an  ancient  house,  and  a  soldier.'  A  knight, 
of  Newbold  Revell,  Warwickshire.  Served  in  French  wars  with  Richard 
Beauchamp,  Earl  of  Warwick,  who  was  famous  as  representing  the 
knightly  ideal  of  the  age.  Member  of  parliament  for  Warwickshire  in 
1445.  Conspicuous  on  the  Lancastrian  side  in  the  Wars  of  the  Roses. 

II.  MORTE  D'ARTHUR.  Published  in  1485  by  Caxton,  who  is  probably  re- 
sponsible for  the  somewhat  arbitrary  divisions  into  books  and  chapters, 
and,  perhaps,  for  certain  marks  of  style. 

1.  General  Contents. 
Books  I-V,—  Merlin. 

Books  VI-VII,  XI-XXI,— Lancelot. 
Books  VIII-X,— Tristram. 

2.  Nature  of  the  compilation.    A  compendium  translated  and  adapted, 
in  great  part,  directly  from  French  romances.    The  volume  of  the 
sources  was  about  ten  times  that  of  Morte  d' Arthur  itself.    The  vol- 
ume, contradictions,  and  inconsistencies  of  the  sources  led  to  conspic- 
uous  incongruities  in  the   compendious   translation.     Certain   of  the 
best  stories,  such  as  Gawain  and  the  Green  Knight,  are  omitted.     Orig- 
inality shown  in  emphasis  upon  Arthur  as  central  figure. 

3.  Literary  characteristics. 

a.  Looseness  of  plot. 

b.  Grammatical  looseness. 

c.  Rapidity  of  narration.    • 

d.  Vividness  of  description. 

e.  Graceful  and  musical  style. 

f.  Vocabulary  essentially  English. 

"I.  ARTHUR  IN  LATER  ENGLISH  LITERATURE. 

1.  EdnumcL _Spenser   (1552-1599.     See  Outline  XIX). 

The  Faery  Queen  (1590-1596).  Prefatory  letter,  to  Sir  Walter  Ral- 
eigh, declares  that  the  basis  of  the  poem  is  '  The  historye  of  King 
Arthure/  Arthur's  adventures  are  unlike  those  recorded  in  earlier 
romances.  Arthur  appears  infrequently,  and  only  as  a  prince.  The 
first  quest  (Book  I)  most  nearly  resembles  earlier  Arthurian  stories. 

2.  Thomas  Hughes."  Misfortunes  of  Arthur  (acted  before  Queen  Eliza- 
beth, 1588),  earliest  Arthurian  play  in  English. 

3.  John  Milton  ~( 1608-1674.     See  Outline  XXXIII),  in  two  Latin  works 
speaks  of  his  intention  (never  fulfilled)  of  writing  an  Arthurian  epic. 

4.  John  Dryden   (1631-1700).  .King  Arthur  (acted  1691). 

5.  Percy:     Reliques  of  Ancient  English  Poetry  (1765)  contains  such  Ar- 
tmTfian  pieces  as  Sir  Lancelot  du  Lake,  The  Marriage  of  Sir  Gawain, 
and  King  Arthur's  Death. 

6.  Alfred  Tennyson  (1809-1892).     Idylls  of  the  King  (1842-1885). 

7.  Matthew  Arnold  (1822-1888).  -Tristram  and  Iseult  (1852). 

8.  William  Morris  (1834-1896).  —Published  in  1858  a  volume  containing 
four  Arthurian  poems:     The  Defence  of  Guenevere,  King  Arthur's 
Tomb,  Sir  Galahad,  and  The  Chapel  in  Lyoness. 

9.  Algernon    Charles    Swinburne    (1837-1909).     Tristram    of   Lyonesse 
(1882)  -,-The  Tale  of  Balen  (1896).     ~ 

25 


OUTLINE  XIII 

English  and  Scottish  Popular  Ballads 

I.  THE  BALLAD. 

A  poem  originating  among  the  folk,  and  composed  (though  seldom  writ- 
ten down )  by  them.  Contains  a  narrative  and  a  musical  element^  it  is 
'  a  song  that  tells  a  story.'  The  story  is  told  impersonally  by  a  narrator 
who  has  no  role  in  it,  and  who  adds  no  reflections  upon  it. 

!I.  CHARACTERISTICS. 

1.  Subject  Matter. 

a.  Domestic    relations:     Willie's   Lady,    Clerk    Sounders,    Glasgerion, 
^arl  Crawford,  Fair  Annie,  Katherine  J affray. 

b.  Supernatural  occurrences:     Tarn  Lin,  Kemp,  Owyne,  Sweet  Wil- 
liam's Ghost. 

c.  History:     The  Battle  of  Otterburn,  The  Hunting  of  the  Cheviot, 
Flodden  Field. 

d.  Outlawry:    Adam  Bell,  and  the  ballads  concerning  Robin  Hood. 

e.  Riddles,  and  humorous  incidents :    Riddles  Wisely  Expounded,  The 
Gardener,  The  Crafty  Farmer. 

2.  Literary  Characteristics. 

a.  Refrain. 

b.  Repetition. 

c.  Dialogue. 

d.  Absence  of  figurative  language. 

3.  Metrical  Form.     Stanza  and  rime  always  present. 

a.  Stanza  may  be  a  mere  couplet  of  verses  of  four  accents : 

Hunger  is  sharper  nor  a  thorn 
And  shame  is  louder  nor  a  horn. 

b.  Stanza  usually  consists  of  four  lines,  of  which  the  ist  and  3rd  lines 
have  four  accents  and  the  2d  and  4th  three  accents,  and  of  which  the 
rime-scheme  is  usually  abcb: 

Robin  stode  in  Bernesdale, 
And  lenyd  him  to  a  tre; 
And  bi  hym  stode  Litell  Johnn, 
A  gode  yeman  was  he. 

"I.  NUMBER  AND  CHRONOLOGY. 

Of  the  great  number  of  true  ballads  in  English  and  Scottish  only  306 
have  been  preserved."  Of  these  306  ballads  only  eleven  are  extant  in 
MSS.  older  than  the  I7th  century.  Although  our  sources  are  somewhat 
modern,  the  ballads  themselves  are  in  many  cases  very  ancient. 


OUTLINE  XIV 


The  Revival  of  Learning 

I.  HUMANISM.  In  literary  history  this  term  is  applied  definitely  Jo  that 
part  of  the  Renaissance  movement  manifested  in  the  revived  study  of 
classical  antiquity,  that  is,  to  the  Revival  of  Learning.  The  humanists, 
however,  did  not  confine  their  activities  to  pure  learning.  Humanism 
began  in  Italy. 

II.  ITALIAN  HUMANISTS. 

1.  Francesco  Petrarch  (1304-1374).    Although  most  famous  for  his  ver- 
nacular poems,   wrote   in   classical  Latin  numerous   works,   such   as : 
in  prose,  De  Contemptu  Mundi,  De  Vita  Solitaria,  Epistolae;  in  verse, 
an  epic,  Africa. 

2.  Giovanni    Boccaccio    (1313-1375).     Best   known    for   his   Decameron 
and  other  works   in   the   vernacular.     Cultivated   Latin   classics,   and 
wrote  Genealogia  Deorum,  De  Casibus  Virorum  lllustrium,  De  Mon- 
tibus. 

3.  Fifteenth  Century  Group. 

a.  Poggio  Bracciolini  (1380-1459). 

b.  Enea  Silvio  (1405-64;  Pope  Pius  II,  1458-64). 

c.  Lorenzo  de'  Medici  (1449-1492). 

III.  ENGLISH  HUMANISTS. 

i.!  Earlier  English  Humanists. 

a.  Humphrey,    Duke   of   Gloucester    (1391-1447).     Youngest   son   of 
Henry  IV.     Studied  at  Balliol  College,  Oxford.     Collected  books, 
patronized  learning;  summoned  classical  scholars  from  Italy, 

b.  John  Tiptoft  (d.  1470).     Earl  of  Worcester. 
2.  Oxford  Group  of  Humanists. 

a.  William  Grocyn  (1446-1519).     Taught  Greek  at  Oxford. 

b.  Thomas   Linacre    (1460-1524).     Taught    Greek   at    Oxford. 

c.  John  Colet  1466-1519).     Dean  of  St.  Paul's,  London.     Lectured  at 
Oxford  on  the  Greek  New  Testament. 

d.  Desiderius  Erasmus  (1465-1536).     Dutch  humanist.     Visited  Eng- 
land 1498-99,  1510-14.     Best  known  for  his  Adagio  and  Encomium 
Moriae. 

IV.  SIR  THOMAS  MORE. 

1.  Life.     Born,    1478.     Studied    Greek    and    Latin    under    Linacre    and 
Grocyn    at   Oxford.     Practiced   law.     In    Parliament    1503-04.     1515, 
ambassador  to  Flanders.     1516,  Utopia  published.     Held  various  public 
offices.     1521,  knighted.     1523,  Speaker  of  House  of  Commons.     1529, 
succeeded  Wolsey  as  Chancellor.     1532,  opposed  projected  divorce  of 
Henry  VIII  and  Catherine.     Refused  to  take  oath  under  the  Act  of 
Supremacy  and  was  committed  to  the  Tower.     Executed  July  6,  1535. 

2.  English  Works.  *^* 

a.  History  of  Richard  III. 

b.  Miscellaneous  Works, 
>/  3.  Works  in  Latin. 

a.  Utopia,  published  in  Latin,  1516.     Translated  into  English  by  Ralph 
Robinson,  1551. 

Bk.  I, —  direct  criticism  of  English  and  European  politics. 
Bk.  II,— the  Utopian  ideal. 

b.  Numerous  controversial  works. 

29 


OUTLINE  XV 
The  Beginnings  of  the  Renaissance 

I.  CLASSICAL  TRANSLATIONS. 

1.  Virgil's  /Encid,  by  Thomas  Phaer  (1558-1562). 

2.  Ovid's  Metamorphoses,  by  Arthur  Golding  (1565-75). 

3.  Seneca's  Tragedies,  by  Jasper  Hey  wood  and  others   (1581). 

4.  Plutarch's  Lives,  by  Sir  Thomas  North  (1579). 

II.  INFLUEM£E  OF  ITALY. 

1.  On  Manners.    The  English  traveler.    The  ideal  of  the  courtier. 

2.  On  Literature.     Through  Dante,  Petrarch,  Boccaccio,  Ariosto. 

^3.  The  Sonnet.     'The  most  ingenious  device  for  musical  expression  of  a 
single  worthy  thought/     (Morley.)     Fourteen  iambic  pentameter  lines. 

a.  Petrarch's  Italian  sonnet.     Two  stanzas,  one  of  eight  lines,  called 
the  octave;  one  of  six  lines,   called  the  sestet.     Riming  system: 
abbaabba     cdecde.     This  form  is  now  most  common. 

b.  Surrey's   English    sonnet.    Used   by    Shakspere.     Three    quatrains 
and  a  couplet.     System:    abab    cdcd    efef    gg. 

III.  ENGLISH  RENAISSANCE  POETS. 

1.  Sir  Thomas  W^att  (i5O3?-i542).     Courtier,  ambassador.     Introduced 
\     Italian    sonnet    into   England.     Author   of  —  Certain   Psalms    .     .     . 

drawn  into  English  meter —  (pub.  1549)  and  many  poems  in  Tottel's 
Miscellany  (1557). 

2.  Henry  Howard,  Earl  of  Surrey  (1517-1547).     Courtier  and  soldier. 
Inventor  of  the  English   form  of  sonnet.     Translated  two  books  of 
fiLneid.     Forty  poems  in  Tottel's  Miscellany. 

3.  Thomas  Sackville  (1536-1608),  created  Lord  Buckhurst,  1567,  Earl  of 
Dorset,  1604. 

a.  Induction  to  A  Mirror  for  Magistrates  (1563). 

b.  (With  Thomas  Norton)  Gorboduc,  Senecan  tragedy  in  blank  verse 
(acted  ijjjy.). 

4.  George  Gascoigne  (i525?-I577)"« 

a.  The  Supposes  (acted  1566).    Prose  comedy.     Translation  of  Ari- 
osto's  1  Suppositi. 

b.  Jocasta  (acted  1566).    Tragedy.     From  Euripides,  through  Latin 
and  Italian. 

c.  Notes  of  Instruction  (1575). 

d.  The  Posies  of  George  Gascoigne  (1575). 

e.  The  Steel  Glass  (1576). 

5.  Tottel's  Miscellany,  or  Songs  and  Sonnets.     Published  June,  1557,  by 
Richard   Tottel.     The   first   printed   collection   of   lyrics   in   English. 
Went   through   six   editions.     First   edition    contained   40   poems    by 
Wyatt,  96  by  Surrey,  40  by  Grimald,  95  by  '  Uncertain  authors.' 


OUTLINE  XVI 
Sir  Philip  Sidney 

I.  LIFE. 

Born  1554.  Educated  at  Oxford  without  taking  his  degree.  Trav- 
eling on  the  continent  from  1572-75,  he  came  under  the  intellectual  influ- 
ence of  Hubert  Languet,  was  in  Paris  during  the  massacre  of  St.  Bar- 
tholomew's eve,  and  at  Venice  became  acquainted  with  Tintoretto  and 
Paolo  Veronese.  At  Vienna  studied  horsemanship  with  John  Peter 
Pugliano.  Served  in  diplomatic  posts,  and  studied  politics;  in  1577 
and  again  in  1584  was  entrusted  with  missions  on  the  continent.  From 
early  life  found  increasing  influence  at  court  and  among  learned  men. 
In  1583  Sidney  was  knighted,  and  in  the  same  year  married  Frances 
Walsingham.  In  1585  he  became  governor  of  Flushing,  later  was  colonel 
in  the  protestant  war  in  the  low  countries,  was  mortally  wounded  at  Zut- 
phen,  and  died  October  17,  1586.  Among  200  elegies,  Spenser's  Astro- 
phel:  A  Pastoral  Elegy,  is  the  best. 

II.  SIDNEY  AS  A  POET. 

i.  Astro  phel  and  Stella,  a  collection  of  108  sonnets  and  II  songs.  Pub- 
lished 1591  by  Thomas  Newman.  Begun  about  1580.  Addressed  to 
Penelope  Devereux,  daughter  of  the  first  earl  of  Essex ;  modeled  after 
sonnets  of  the  Earl  of  Surrey  to  Geraldine;  they  struck  a  deeper  note 
after  her  marriage  to  Lord  Rich  in  1581  and  probably  continued  until 
a  little  after  Sidney's  marriage  to  Frances  Walsingham. 

III.  SIDNEY  AS  A  WRITER  OF  PROSE. 

1.  Arcadia    (1580-85;  published,   1590).    Highly  intricate  compound  of 
chivalric  romance  and  pastoral  poetry.     Name  derived  from  the  Arca- 
dia of  Jacopo  Sannazaro.     In  content  Sidney  was  influenced  by  the 
Spanish  tales  of  chivalry  of  Amadis  and  Palmerin.     The  style  is  arti- 
ficial, elaborate,  and  melodious. 

2.  An  Apology  for  Poetry  (1595).    Written  about  1580  as  A  Defense  of 
Poesie,  in  retort  to  Gosson's  School  of  Abuse  and  Apology  for  the 
School  of  Abuse  (both  1579),  in  defense  of  poetry  as  a  work  of  the 
imagination.     It  is  in  three  parts:  ., 

a.  Poetry  as  teaching  virtuous  action.      — ^ 

b.  An  enumeration  of  the  forms  of  poetry.      * 

c.  Ari  estimate  of  English  poetry  of  the  past  and  present  * 


OUTLINE  XVII 
The  Elizabethan  Lyric 

I.  LYRIC  MISCELLANIES. 

Early  collections  of  popular  lyrics,  religious  lyrics,  spring-songs,  love 
plaints,  and  dramatic  lyrics.  ^^ 

i.  Tottel's  Miscellany  (1557).     (See  Outline  XV.) 

/  2.  Paradise  of  Dainty  Devices  (1576),  largely  moral  lyrics. 

3.  A  Gorgeous  Gallery  of  Gallant  Inventions  (1578). 

4.  A  Handful  of  Pleasant  Delights  (1584). 

5.  The  Phoenix'  Nest  (1593). 

6.  England's  Helicon  (1600),  containing  lyrics  of  Sidney,  Spenser,  Lodge 
Peele,  Barnneld. 

7.  Davison's  Poetical  Rhapsody  (1602). 

II.  COLLECTIONS  OF  LYRICS  OF  INDIVIDUAL  POETS. 

1.  Barnaby  Googe :  Eglogs,  Epytaphes  and  Soncttes  (1563). 

2.  Gascoigne:  A  Hundred  Sundry  Flowers  (1572).     Reprinted  as  Tht 
Posies  of  George  Gascoigne  (1575). 

3.  Spenser  (1553-1599)- 

1   a.  Shepherd's  Calendar  (1579). 
•  b.  Complaints  (1591). 

c.  Daphnaida    (1591). 

d.  Epithalamion   (1595). 

4.  Michael  Dray  ton  (1563-1631). 

a.  Harmony  of  the  Church  (1591). 

b.  Shepherd's  Garland  (1593). 

c.  Idea  (1594). 

d.  Poems  Lyric  and  Pastoral  (1605). 

5.  The  Passionate  Pilgrim  (1599).    A  collection  ascribed  to  Shakspere 
in  which  are  found  five  of  Shakspere's  sonnets,  and  Marlowe's  '  Come 
live  with  me.' 

III.  THE  SONNET  SERIES. 

First  practised  by  Watson  in  his  pedantic  Hekatompathia  (1582),  th< 
sonnet  series  gained  great  popularity  and  influence. 

1.  Sidney:  Astro phel  and  Stella  (1591). 

2.  Samuel  Daniel:  Delia  (1592). 

3.  Constable:  Diana  (1592). 

4.  Barnes:  Parthenophil  and  Parthenope  (1593). 
'•'  5.  Spenser:  Amoretti  (1595). 

f  6.  Shakspere:  Sonnets  (probably  composed  before  1594). 

IV.  LYRICS  IN  DRAMA  AND  ROMANCE. 

Some  of  the  best  lyrics  of  the  Elizabethan  Age  are  found  scattered 
through  the  works  of  dramatists  and  romancers. 
f-  i.  Lyly:  Alexander  and  Campaspe  (1584), — 
'  Cupid  and  my  Campaspe  played.' 

2.  Peele:  Arraignment  of  Paris  (1584), — 
'  Fair  and  fair,  and  twice  so  fair.' 

3.  Greene:  Menaphon  (1589), — 'Weep  not,  my  wanton,  smile  upon  m> 
knee.' 

4.  Lodge:  Rosalynde  (1590), — '  Love  in  my  bosom  like  a  bee.' 

5.  Sidney:  Arcadia  (1590), — 'My  true  love  hath  my  heart/ 

6.  Others  in  the  works  of  Dekker,  Kyd,  Nash,  and  Shakspere. 


OUTLINE  XVIII 
Elizabethan  Prose 

I.  PROSE  BEFORE  ELIZABETH'S  ACCESSION. 

i.  Roger  Ascham  (1515-1568).  Educated  at  St.  John's  College,  Cain- 
bridge.  Tutor  to  Princess  Elizabeth.  Latin  Secretary  to  Queen  Mary. 
Traveled  in  Germany.  A  student  and  teacher  of  the  classics.  His 
works : 

a.  Toxophilus   (1544).     A  defense  of  archery  written  in  the  refined 
manner  of  Platonic  dialogue. 

b.  The  Schoolmaster  (1570).     Discusses  problems  of  education,  travel 
and  things  in  general. 

II.  NOVELISTS. 

1.  John   Lyly    (i554?-i6o6).     Educated   at   Magdalen   College,   Oxford. 
Assistant  to  Master  of  the  Revels  and  petitioner  for  the  Mastership. 
Attached  to  household  of  Lord  Burleigh.     Courtier,  dramatist    (See 
Outline  XXII),  novelist. 

Novels. 

a.  Euphues,  The  Anatomy  of  Wit  (1578). 

b.  Euphues  and  his  England  (1580). 

Euphuism.  A  form  of  composition  characterized  by  alliteration,  an- 
tithesis, word  play,  reference*  and  similes  drawn  from  natural  history 
real  and  imaginary,  and  classical  allusions.  Supposed  to  be  imitated 
from  Guevara,  of  Spain,  but  largely  the  outgrowth  of  the  affectation 
of  the  age. 

2.  Sir  Philip  Sidney  (See  Outline  XVI). 

3.  Thomas    Lodge    (i558?-i625).     Poet,    dramatist,    novelist,    traveler. 
Rosalynde:  Euphues  Golden  Legacy  (1590).     Written  in  the  vein  of 
Euphuism.     Followed  closely  by  Shakspere  in  As  You  Like  7f.yU/V<A  £•"*-* 41 

4.  Robert    Greene     (1558-1592).     Dramatist,     essayist,     novelist,    pam- 
phleteer.    Wrote  much  under  the  influence  of  Lyly. 

a.  Euphues,  his  Censure  to  Philautus  (1587). 

b.  Pandosto,   the    Triumpn~uf-Time    (1588).     The   source   of   Shak- 
spere's  Winter  Tale. 

c.  Menaphon,  or  Camilla's  Alarum  to  Slumbering  Euphues  (1589). 

v  5.  Thomas  Nash  (1567-1601).  Satirist,  novelist,  controversial  writer. 
The  Unfortunate  Traveler,  or  the  Life  of  Jack  Wilton  (1594).  Real- 
istic fiction. 

III.  VOYAGES. 

Richard  Hakluyt  (1553-1616).  Geographer  and  compiler.  The  Prin- 
cipal Navigations,  Voyages,  Traffics  and  Discoveries  of  the  English  Na- 
tion (1589). 

IV.  RELIGIOUS  CONTROVERSIAL  PROSE. 

Richard  Hooker  (1554-1600).  English  divine.  Educated  at  Oxford. 
Skilled  in  languages.  Ecclesiastical  Polity  (1594-1618).  An  argument 
against  enemies  of  the  English  Church.  A  Latinized  style,  rich  in  images, 
sonorous  and  a  little  artificial. 


,-v,*W 

fcWr>A^j  j 


OUTLINE  XIX 
Edmund  Spenser:     Life  and  Works 

I.  LIFE. 

Edmund  Spenser,  elder  son  of  John  Spenser,  gentleman  and  cloth-maker, 
was  born  in  East  Smithfield,  London,  in  1552.  He  was  educated  at 
Merchant  Taylors'  School  and  Pembroke  Hall,  Cambridge  (M.A.  1576). 
Through  friendship  with  Gabriel  Harvey,  Spenser  in  1578  became  a  mem- 
ber of  Leicester's  *household  and  became  a  friend  of  Sir  Philip  Sidney. 
In  1580  he  was  appointed  Secretary  to  Arthur  Grey,  then  recently  made 
lord  deputy  of  Ireland.  With  the  exception  of  occasional  visits  he  re- 
mained in  Ireland  until  a  month  before  his  death.  In  1588  Spenser  re- 
moved to  Kilcolman  Castle  near  Cork.  Twice  he  revisited  London,  first 
in  1589  to  turn  over  to  the  printer  the  first  three  books  of  The  Faery 

8ueen  and  again  in  1596,  when  the  next  three  books  were  completed, 
n  the  first  visit  he  remained  two  years  and  received  distinguished  atten- 
tion from  Queen  Elizabeth.  Spenser  married  Elizabeth  Boyle  in  1594. 
In  October,  1598,  Spenser's  castle  was  burned  in  an  uprising  of  the  natives 
and  with  his  family  he  was  forced  to  flee  to  Cork.  He  went  to  London  in 
December,  1598,  and  died  there  in  poverty,  January  16,  1599. 

II.  SPENSER  AS  A  POET. 

Spenser  is  known  as  the  '  poets'  poet/  His  poetry  is  characterized  by 
unusual  sensuous  and  spiritual  beauty.  He  was  also  an  imitator  and 
experimenter.  As  a  student  he  contributed  fourteen  sonnet  Visions  from 
Du  Bellay  to*The  Theatre  for  Worldlings  (1568).  While  in  Leicester's 
household  he  experimented  in  classical  measures.  The  Shepherd's  Calen- 
dar and  The  Faery  Queen  show  Spenser  as  an  innovator  in  vocabulary. 
For  the  latter  poem  he  invented  the  so-called  Spenserian  stanza. 

111.  SPENSER'S  POEMS. 

SU.  The  Shepherd's  Calendar    (1579).     In   twelve  pastoral   eclogues  glo- 
rifying England  and  Elizabeth.     In   reality  a  poetical  miscellany  of 
fables,  satires  and  love  verses,  distinguished  from  one  another  in  met- 
rical form  and  content. 
2.  Complaints  (1591).     A  collection  of  minor  verse  published  on  account 

of  the  success  of  The  Faery  Queen. 
'3.  Astrophel  (1595).     An  elegy  on  Sidney. 

4.  Colin  Clout's  Come  Home  Again  (1595),  penned  upon  his  return  to 
Ireland  in  1591. 

5.  Amoretti  and  Epithalamion  (1595).     The  first  was  written  before  his 
marriage;  the  second  celebrates  his  marriage  to  Elizabeth  Boyle. 

'/:  6.  The  Faery  Queen.     First  three  books,   1590;  2nd  three  books,   1596. 

(See  Outline  XX.) 
7.  Prothalamion  (1596). 


OUTLINE  XX 
Spenser:     The  Faery  Queen 

I.  INFLUENCES  ON  SPENSER  IN  WRITING  THE  FAERY  QUEEN. 

1.  The  Romances  of  Chivalry. 

a.  Malory's  Morte  Df  Arthur. 

b.  Amadis  of  Gaul. 

c.  Ariosto's  Orlando  Furioso. 

d.  Tasso's  Jerusalem  Delivered. 

2.  Didactic  Allegories. 

a.  Roman  de  la  Rose. 

b.  Dante's  The  Divine  Comedy. 

c.  The  Visions  of  Langland. 

d.  Hampole's  Prick  of  Conscience. 

e.  Robert  of  Brunne's  Handling  Sin. 

f.  Chaucer's  Parliament  of  Birds,  etc. 

g.  Sackville's  Induction  to  A  Mirror  for  Magistrates. 

3.  Classical  Influence  of  the  Philosophies  of  Plato  and  Aristotle. 

II.  THE  PLAN  OF  THE  FAERY  QUEEN. 

1.  The  Large  Structure.     In  Spenser's  prefatory  letter  he  indicates  that 
The  Faery  Queen  is  to  be  in  12  books,  that  Arthur  is  to  be  the  central 
figure,  and  that  each  book  is  to  represent  one  of  the  12  private  moral 
virtues  as  devised  by  Aristotle.     Only  six  of  the  12  books  were  com- 
pleted. 

Book  i,  Red  Cross  Knight:     Holiness. 

Book  2,  Sir  Guyon:    Temperance. 

Book  3,  Britomarte :     Chastity. 

Book  4,  Cambel  and  Triamond :     Friendship. 

Book  5,  Sir  Artegall:    Justice. 

Book  6,  Calidore:     Courtesy. 

2.  The  Allegory.     Spenser's  allegory  is  involved  and  inconsistent.     There 
are  three  types: 

a.  Moral  allegory,  representing  the  struggles  of  the  Virtues  and  Vices, 
thinly  veiled 'under  the  names_of  the  characters. 

b.  Political  allegory.     Directed  primarily  to  the  glory  of  Queen  Eliza- 
beth.    In  this"  allegory  Arthur  stands  for  Leicester,   Sir  Satyrane 
for  Sir  John  Perrot,  Queen  Mary  for  Duessa.     Events  alluded  to 
are  the  St.  Bartholomew's  Eve  massacre,  the  Armada,  the  troubles 
in  Ireland. 

c.  Religious  allegory.     Treating  the  contests  among  the  English  Re- 
formed Church,  The  Church  of  England,  the  Roman  Church,  Pagan- 
ism and  Atheism. 

III.  THE  SPENSERIAN  STANZA. 

Perhaps  a  modification  of  the  linked  quatrain  stanza,  used  in  The  Shep- 
herd's Calendar  by  the  addition  of  a  running  Alexandrine  (a  line  of 
twelve  syllables)  after  the  second  quatrain,  (a  b  a  b  b  c  b  c  c.) 

IV.  SPENSERIAN  LANGUAGE. 

Spenser  affected  the  archaic  in  language,  pronunciation  and  grammar. 
Examples:  afoore,  thenfthan]  fondffound],  prease.  Plurals  of  nouns 
in  es:  woundes,  worldes;  plural  and  infinitive  in  verbs  in  en:  been, 
doen,  marchen,  to  looken,  to  keepen. 

41 


OUTLINE  XXI 

The  Early  Drama 

I.  RELIGIOUS  AND  DIDACTIC  DRAMA. 

1.  Church   Plays    (beginning  in  the   loth   century).     Short  dialogues   in 
Latin  delivered  as  part  of  the  liturgy,  chiefly  at  Easter,  Christmas  and 
Epiphany. 

2.  Mystery  Plays   (English).     Substantially  comprised  in  four  Cycles  of 
the  I4th  and  I5th  centuries: 

a.  Chester  Plays  (25  pageants). 

b.  Coventry  Plays,  or  Ludus  Coventriae  (43  pageants). 

c.  York  Plays  (48  pageants). 

d.  Towneley  Plays  (32  pageants). 

Morality  Plays,  or  Moralities    (i5th  and   l6th  centuries). 

a.  Universal  moralities. 
Castle  of  Perseverance. 
Mankind. 
Everyman. 

b.  Limited  moralities. 
Hycke-Scorner. 
Wit  and  Science. 

4.  Interludes. 

John  Hey  wood   (fl.   1520-35),  attached  to  the  court  of  Henry  VIII. 
Some  of  his  plays  are  didactic  and  some  purely  farcical. 

a.  The  Play  of  the  Weather.  ' 

b.  The  Play  of  Love. 

c.  The  Merry  Play  between  Johan  the  Husband,  Tyb  his  Wife,  and  Sir 
John  the  Priest.     9  5  3 

d.  The  Four  PP. 

e.  The  Merry  Play  between  the  Pardoner  and  the  Friar,  the  Curate  and 
Neighbor  Pratt.   ,5-3$ 

II.  THE  TRANSITION  TO  THE  REGULAR  DRAMA. 


Gammer  Gurton's  Needle  (1552-53). 
Influence  of  Plautus  and  Terence. 


1.  Comedy. 

a.  Domestic  comedy  in  verse. 

b.  Classical  comedy  in  verse. 
Ther sites  (i537)- 

V  /-  Ralph  Roister  Doister  (c.  1553). 
Jack  Juggler  (iSSS^SSS). 

c.  Prose  comedy  (See  George  Gascoigne,  Outline  XV). 

2.  Tragedy.     Influenced  by  Seneca. 

^Gorboduc,    or   Ferrex   and   Porrcx    (1562),    by    Thomas    Norton 
Thomas  Sackville.     Blank  verse. 

3.  Historical  Plays. 

a.  Bale:  King  John   (before  1548). 

b.  The  Troublesome  Reign  of  King  John   (in  print  by  1591). 


and 


43 


OUTLINE  XXII 
Court  and  School  Plays 

I.  DRAMATIC  COMPANIES. 

Until  1587,  sixteenth  century  drama  was  closely  connected  with  the 
court.  Early  actors  at  court  were  Children  of  the  Chapel  Royal  and  the 
Boys  of  St.  Paul's.  Later  professional  companies  under  patronage  of 
great  nobles  performed  at  court  and  in  public  theaters. 

II.  EARLY  PLAYHOUSES. 

Up  to  1576  professional  performances  had  been  held  in  the  inn  yards. 
The  public  theaters  were  built  beyond  the  city  jurisdiction  as  follows: 

1.  The  Theater,  erected  1576  in  Finsbury  Fields  by  James  Burbage. 

2.  The  Curtain,  built  soon  afterward,  in  the  same  region. 

3.  The  Rose,  erected  1592  on  the  Bankside. 

4.  The  Swan,  erected  1594-98  on  the  Bankside. 

5.  The  Globe,  erected  1599  on  the  Bankside. 

III.  COLLEGE  PLAYS. 

1.  Latin  Tragedies. 

a.  Richardns  Tertius,  by  Legge  (1579). 

b.  Dido,  by  Gager  (1583). 

2.  Comedies.     Largely  satirical. 

a.  Latin. 
Pedantius  (1581). 

Bcllwn  Grammatical*  (1581). 

b.  English. 

The  Pilgrimage  to  Parnassus   (1598). 

The  Return  from  Parnassus  (2  parts,  1601,  1602). 

IV.  JOHN    LYLY   AND   COURT   DRAMA.     (See   also   Outline   XVIII.)  jLyly's 
plays : 

1.  Campaspe  (1584). 

2.  Sapho  and  Phao  (1584). 
*  3.  Endimion  (1591). 

4.  Gallathea   (1592). 

5.  Midas  (1592). 

v    6.  Mother  Bombie  (1594). 

7.  The  Woman  in  the  Moon  (1597). 

8.  Love's  Metamorphosis  (1601). 

All  of  these  plays  are  in  prose  with  occasional  intermixture  of  lyric 
verse,  except  The  Woman  in  the  Moon,  which  is  in  blank  verse.  All 
are  on  pastoral  or  mythological  subjects  with  the  exception  of  Mother 
Bombie.  Many  of  them  show  thinly  veiled  political  allegory  appropri- 
ate to  current  events.  The  style  of  all  is  strongly  marked  with  Eu- 
phuism. 


45 


OUTLINE  XXIII 

Kyd,  Marlowe,  Greene,  Peele 

I.  THOMAS  KYD  (1558-1595?).  Son  of  a  scrivener.  Educated  _at  Mer- 
chant Taylors'  School.  In  1570  entered  the  service  of  a  lord,  perhaps 
Earl  of  Essex.  Translated  (1588)  The  Householder's  Philosophy  from 
Tasso,  and  Cornelia  from  Gamier.  Introduced  the  popular  Revenge 
Tragedy,  a  type  marked  by  strong  influence  from  Seneca,  much  blood- 
shed, usually  on  the  stage,  a  revenge  motive,  often  by  the  use  of  the 
ghost,  and  by  madness. 

^  T.  The  Spanish  Tragedy   (performed  about  1586). 

---  2.  The  earlier  Hamlet  (performed  about  1588). 

II.  CHRISTOPHER  MARLOWE  (1564-1593).  The  most  considerable  dramatic 
poet  before  Shakspere.  May  have  collaborated  in  early  plays  of  Shak- 
spere. Born  at  Canterbury;  educated  at  King's  School,  Canterbury,  and 
at  Corpus  Christi  College,  Cambridge.  May  have  served  as  soldier  in 
the  Low  Countries.  Was  a  free-thinker.  Lived  a  wild  life.  Died  as  re- 
sult of  wound  received  in  tavern  affray  at  Deptford,  June,  1593.  Plays 
-  (dates  those  of  performance)  : 

1.  Tamburlaine  (parts  i  and  2,  1587). 

2.  Dr.  Faustus  (1588). 

3.  The  Jew  of  Malta  (1589). 

4.  Edward  II  (c.  1590).     Chronicle  play. 

III.  ROBERT  GREENE  (1558?-! 592).  Born  at  Norwich.  Educated  St.  John's 
College,  Cambridge.  Wrote  romances,  lyrics,  plays,  and  controversial 
pamphlets.  Lived  an  unhappy  and  irregular  life.  On  his  deathbed  wrote 
A  Groatszvorth  of  Wit,  in  which  is  found  the  first  contemporary  allusion 
to  Shakspere.  Plays  (dates  those  of  performance)  :> 

1.  Alphonsus  of  Arragon  (1587). 

2.  A  Looking-Glass  for  London  of  England  (written  in  conjunction  with 
Lodge  c.  1587). 

3.  Orlando  FuriosD  (1588). 

*  4.  Friar  Bacon  and  Friar  Bungay  (1589). 

5.  James  IV  (1590). 

6.  George-a-Greene  (questionable  authorship;  1590). 

JV.  GEORGE  PEELE  (1558-1597). 

1.  The  Arraignment  of  Paris  (1584).     Poetic  drama. 

2.  The  Battle  of  Alcazar  (c.  1594).     Tragedy  showing  Senecan  influence. 

3.  The  Old  Wives'  Tale  (1595). 
,  4.  David  and  Bethsabe  (1599). 


47 


OUTLINE  XXIV 
Life  of  William  Shakspere 

William  Shakspere  was  born  at  Stratford-on-Avon,  and  was  baptized  April 
26,  1564.  He  was  the  first  son  and  the  third  child  of  John  Shakspere,  a  free- 
holder, in  1568  High  Bailiff  of  Stratford,  and  Mary  Arden  Shakspere.~  Shak- 
spere probably  attended  the  Stratford  Grammar  School;  reminiscences  of  this 
school  are  suspected  in  his  early  play  Love's  Labor's  Lost.  Tradition  assigns 
many  vocations  to  Shakspere's  youth;  one  legend  holds  that  he  'exercised  his 
father's  trade '  of  butcher.  After  the  young  Shakspere's  eighth  year  his 
father's  affairs,  which  had  before  flourished,  began  to  decline. 

Early  in  life  (in  1582  or  early  1583)  William  Shakspere  married  Anne 
Hathaway,  a  woman  eight  years  his  senior.  In  1583  his  first  daughter  was 
born.  Hamnet  and  Judith,  twins,  were  born  early  in  1585.  Well  credited 
tradition  tells  that  about  this  time  Shakspere  was  prosecuted  for  poaching  in 
the  park  of  Sir  Thomas  Lucy  at  Charlecote.  Allusion  may  be  made  to  this 
experience  in  Merry  Wives  of  Windsor  and  2  Henry  IV. 

Shakspere's  knowledge  of  the  stage  may  have  begun  in  1587,  in  which  year 
five  companies  of  actors  gave  theatrical  performances  at  Stratford.  After 
1585  nothing  is  heard  of  him  until  1592,  and  it  is  supposed  that  he  spent  a 
large  portion  of  these  seven  years  in  theatrical  apprenticeship  in  London. 
He  was  probably  attached  to  Burbage's  house  '  The  Theater,'  and  may  early 
have  joined  the  company  of  the  Earl  of  Leicester.  Shakspere  acted  in  Jon- 
son's  Every  Man  in  His  Humor  (1598)  and  Sejanus  (1603)  ;  possibly  also  he 
played  the  part  of  the  Ghost  in  Hamlet  and  of  Adam  in  As  You  Like  It. 

The  earliest  allusion  to  Shakspere  is  seen  in  Robert  Greene's  tract  A  Groats- 
worth  of  Wit  (1592)  in  the  words,  'the  only  Shake-scene  in  a  country'  in 
which  he  appears  to  be  condemned  as  an  adapter  of  other  men's  plays.  In 
/i 593  he  dedicated  Venus  and  Adonis,  and  in  1594  Lucrece,  to  the  Earl  of 
Southampton.  In  1598  Francis  Meres  in  the  Wit's  Treasury  accounts  Shak- 
spere among  the  English  the  most  excellent  in  both  comedy  and  tragedy. 
Among  poems  Meres  mentions  Venus  and  Adonis,  Lucrece,  and  Sonnets;  among 
comedies  he  mentions  The  Two  Gentlemen  of  Verona,  The  Comedy  of  Errors, 
Love's  Labor's  Lost,  Love's  Labors  Won  (All's  Well  that  Ends  Well}, 
Midsummer  Night's  Dream,  and  The  Merchant  of  Venice;  among  tragedies  he 
mentions  Richard  the  Second,  Richard  the  Third,  Henry  the  Fourth,  King 
John,  Titus  Andronicus,  and  Romeo  and  Juliet. 

There  are  other  evidences  of  Shakspere's  early  success.  In  1596  applica- 
tion was  made  in  the  name  of  John  Shakspere  for  the  grant  of  a  coat-of-arms. 
In  1597  Shakspere  purchased  New  Place,  the  largest  house  in  Stratford.  He 
probably  spent  the  last  five  years  of  his  life  in  this  house,  his  work  as  a  play- 
wright being  practically  complete  after  The  Tempest  (1611).  Shakspere  died 
April  23,  1616,  and  was  buried  in  Stratford.  He  left  350  pounds  in  money, 
much  real  estate  and  personal  property,  a  fortune  in  the  time  of  Elizabeth. 
An  authentic  portrait  by  Martin  Droeshout  is  to  be  found  in  the  First  Folio 


49 


OUTLINE  XXV 

Sources  of  Shakspere's  Plays 

I.  SHAKSPERE  AND  CLASSICAL  AUTHORS. 

1.  Latin. 

a.  Ovid,  Virgil,  Seneca,  probably  well  known  in  the  original  Latin. 

b.  Pliny  was  possibly  known  in  Holland's  translation. 

c.  Plautus  was  possibly  known  in  the  translation  of  the  Mencechmi  by 

'W.  w.' 

d.  Many  references  to  Latin  authors  in  Shakspere's  plays  should  be 
ascribed  to  his  use  of  Lyly's  Latin  Grammar  at  school. 

2.  Greek. 

a.  Plutarch's  Lives  was  known  to  Shakspere  in  North's  translation 
(1579,  1595).     Upon  North's  Plutarch  are  based  entirely  or  in  part: 

Julius  Casar;  Coriolanus;  Antony  and  Cleopatra. 

b.  Homer  was  known  either  in  Hall's  translation  (1581)  or  Chapman's 
(1598). 

ONTINENTAL    SOURCES. 

1.  Montaigne's  Essays  were  known  in  Florio's  translation  (1603). 

2.  Boccaccio's  Novels  were  known  through  Painter's  Palace  of  Pleasure. 
Upon  a  story  in  this  was  based  All's  Well  that  Ends  Well.     From  Boc- 
caccio is  derived  indirectly,  perhaps  through  Holinshed  and  an  old 
play,  the  story  of  Cymbeline. 

3.  Cinthio's  Hecatommithi  provides  the  story  of  Othello,  probably   an 
old  play. 

4.  Jorge   de   Montemayor's  La  Diana,  in   translation   by   Bartholomew 
Yong  (1598)  provides  the  story  of  The  Two  Gentlemen  of  Verona. 

III.  ENGLISH  SOURCES. 

1.  English  Fiction. 

a.  Arthur  Brooke's  poem  Romeus  and  Juliet  (1562)  provides  the  story 

of  Romeo  and  Juliet. 
).  Thomas   Lodge's   romance,   Rosalynde    (1590),   provides    story   of 

As  You  Like  It. 

c.  Robert  Greene's  Pandosto  (1588)  provides  story  of  Winter's  Tale. 

2.  English  Historical  Compendiums.  .  5 17 

Raphael  Holinshed's  Chronicles.'    Upon  these  are  mainly  based: 

King  Henry  VI.     (3  parts.) 

King  Richard  III.- 

King  Henry  VIII. 

King  Henry  IV.     (2  parts.) 

King  Henry  V. 

3.  Old  English  Plays.     Upon  these  are  based  King  John,  King  Lear, 
The  Taming  of  the  Shrew,  Measure  for  Measure,  and  possibly  Ham- 
let, The  Merchant  of  Venice,  Timon  of  Athens,  and  Twelfth  Night. 


5i 


OUTLINE  XXVI 
Shakspere's  Works:     Poems  and  Comedies 

POEMS. 

1.  Venus  and  Adonis  (printed,  1593).     Based  upon  Ovid's  Metamorphoses 
and    Lodge's    S cilia's    Metamorphosis    (1589).     Written    in    six    line 
stanzas. 

2.  The  Rape  of  Lucrece  (printed,  1594).     Based  upon  Ovid,  Chaucer,  and 
Samuel   Daniel's   Complaint  of  Rosamond   (1592).     Written   in  rime 
royal  and  like  Venus  and  Adonis  dedicated  to  the  Earl  of  Southampton. 

3.  Sonnets.     Of  these   154  are  extant  outside  the  plays.     The  majority 
were  probably  written  in  1593  and  1594.     They  were  printed  surrep- 
titiously by  Thomas  Thorpe  in  1609. 

4.  A  Passionate  Pilgrim  (printed,  1599).     A  collection  containing  five  of 
Shakspere's  sonnets. 

5.  The  Phoenix  and  the  Turtle  (printed,   1601).     A  collection  containing 
13  four  line  stanzas  said  to  be  by  Shakspere. 

6.  A  Lover's  Complaint.     Printed  with  the  sonnets,  1609. 

II.  COMEDIES. 

1.  Early  Comedy.     Shakspere's  craftsman  period.     Plays  marked  by  arti- 
fice, mistaken  identity,  much  rime  and  verbal  conceit. 

a.  Love's  Labor's  Lost  (written,  c.  1591). 

b.  The  Comedy  of  Errors  (written,  c.  1591). 

c.  The  Two  Gentlemen  of  Verona  (written,  c.  1591). 

d.  A  Midsummer  Night's  Dream  (written,  c.  1595). 

2.  The  Middle  Period  of  Comedy. 

The  Merchant  of  Venice  (acted,  c.  1596). 

3.  Shakspere's  Maturity  in  Comedy. 

a.  A  rough  and  boisterous  type  verging  on  farce.     Not  in  his   best 
style. 

The  Taming  of  the  Shrew  (written,  c.  1596). 
The  Merry  Wives  of  Windsor  (acted,  c.  1598). 

b.  An  idyllic  comedy  of  refined  emotion. 
Much  Ado  About  Nothing  (acted,  1599). 
As  You  Like  It  (acted,  1599). 

Twelfth  Night,  or  What  You  Will  (acted,  1599). 

c.  The  comedy  of  sober  thought,  of  irony  and  disillusion. 
All's  Well  That  Ends  Well  (written,  c.  1602). 
Troilus  and  Cressida  (written,  1603). 

Measure  for  Measure  (acted,  1604). 

4.  The   Final   Period,   marking  the   last   stage   of   Shakspere's   dramatic 
evolution.     Romantic  comedy  of  philosophy  and  reconciliation. 

a.  Pericles,  Prince  of  Tyre  (printed,  1608). 

b.  Cymbeline  (acted,  1610-11). 

c.  The  Winter's  Tale   (acted,  1611). 

d.  The  Tempest  (written,  1611). 


S3 


OUTLINE  XXVII 
Shakspere's  Works:     Histories  and  Tragedies 

I.  HISTORIES. 

1.  Pseudo-Shaksperean. 

Henry  VI.  Part  I  (acted,  1592).  An  early  type  of  the  plays"~of  blooc 
and  bombast.  Barely  touched  by  Shakspere.  Compare  with  Titus  am 
Andronicus  under  Tragedies. 

2.  The  Marlowe-Shakspere  Group. 

Showing  the  influence  of  Marlowe  in  substance,  structure,  and  style 
Marlowe  was  probably  chiefly  concerned  in  the  first  two,  the  thin 
was  written  by  Shakspere  in  Marlowe's  manner. 

a.  The  Second  Part  of  Henry  the  Sixth  (acted,  1592). 

b.  The  Third  Part  of  Henry  the  Sixth   (acted,  1592). 

c.  Richard  III  (1593). 

3.  Histories  of  the  Middle  Period.     Shakspere's  assumption  of  an  indi 
vidual  method.    All  save  the  first  have  an  admixture  of  comedy   (cf 
comedy  of  this  period,  Outline  XXVI),  and  the  last  three  belong  tc 
the  Falstaff  group   (cf.  Merry  Wives  of  Windsor}. 

a.  King  John  (adapted,  1594). 

b.  Richard  II  (printed,  1597). 

c.  The  First  Part  of  Henry  the  Fourth  (written,  1597). 

d.  The  Second  Part  of  Henry  the  Fourth  (written,  1597). 

e.  Henry  the  Fifth  (acted,  1599). 

II.  TRAGEDIES. 

1.  Pseudo-Shaksperean  Tragedy:  play  of  revenge  and  blood.    Only  par 
tially  by  Shakspere. 

Titus  Andronicus  (acted,  1594). 

2.  Early  Tragedy.     Tragedy  of  youthful  passion,     (cf.  Shakspere's  earl) 
poems.)     Romeo  and  Juliet  (written,  1591). 

3.  Tragedy  of  Maturity  of  Method.     Separated  from  Romeo  and  Julie, 
by  almost  entire  history  group  and  most  of  the  comedies.     The  trag 
edy  of  thought. 

a.  Julius  C&sar  (acted,  1601). 

b.  Hamlet  (acted,  1602). 

4.  The  Last  Phase  of  Tragedy.     Tragedy  of  personal  flaw  or  fault 
character:  ambition,  ingratitude,  lust,  etc. 

a.  Othello,  The  Moor  of  Venice  (acted,  1604). 

b.  King  Lear  (acted,  1606). 

c.  Macbeth   (written,  1606). 

d.  Timon  of  Athens  (written,  c.  1607). 

e.  Antony  and  Cleopatra  (written,  1608). 
*f.  Coriolanus  (written,  c.  1609). 


ir 


>  OUTLINE  XXVIII 

Jonson  and  Chapman 

I.  BEN  JONSON. 

1.  Life.     Ben  Jonson  was  born  in  1572.    He  was  educated  in  Westmin- 
ster School,' was  a  brick-layer,  soldier  in  the  Low  Countries  and  actor. 
iHe  began  writing  for  the  stage  about  1595,  and  was  himself  an  actor, 
possibly  in  the  pseudo-Kydean  play  Jeronimo.     Killed  a  performer  in 
a  duel,  was  imprisoned  and  released  through  'benefit  of  clergy.'     At- 
tacked  Marston  and  Dekker,   brother  dramatists,  in  Cynthia's  Revels 
and  The  Poetaster.    Was  attacked  in  turn  in  Dekker's  Satiromastix. 
With    Chapman    and    Marston    offended    King    James    by    reflections 
on   the   Scottish   nation  in  Eastward  Hoe.     Regained  favor  and  was 
appointed  laureate.     In  later  life  Jonson  knew  many  vicissitudes   of 
fortune.     Died  August  6,  1637.     Buried  in  Poets'  Corner,  Westminster 
Abbey. 

2.  Characteristics,  as  a  Dramatist.    Jonson  announced  in  his  first  play, 
Every  Man  in  his  Humor,  his  purpose  to  revolutionize  dramatic  art. 
Repudiates  the  dramatic  ideas  of  Shakspere.     Bases  his  plays  upon  an 
elaboration  of  eccentric  character  and  on  classical  rather  than  romantic 
idea.     Plays  marked  by  great  learning,  satire,  warfare  on  pretenders, 
and  lack  of  action.     Wrote  some  fifty  plays,  mostly  masques  and  in- 
terludes. 

3.  Jonson's  Works. 

a.  Comedy  of  Humors. 

Every  Man  in  His  Humor  (1598). 
Every  Man  out  of  His  Humor  (1599). 

b.  Realistic  Comedy. 

Volpone  (1606);  Epiccene  (1609);  The  Alchemist  (1610);  Bartholo^ 
mew  Fair  (1614). 

c.  Classical  Tragedy. 

Se janus  (1603);  Catiline  (1611). 

d.  Pastoral  Drama:     The  Sad  Shepherd  (1634). 

e.  Masque:     The  Masque  of  Queens  (1609)  ;  The  Golden  Age  Restored 
(1615)  ;  Oberon   (1611). 

II.  GEORGE  CHAPMAN  (1559-1634).     Translator  of  Homer.     Friend  of  Spen- 
ser, Jonson,  and  Shakspere.     Undramatic  but  weird  and  poetic. 

1.  Comedies. 

a.  The  Blind  Beggar  of  Alexandria  (1598). 

b.  All  Fools  (1605). 

c.  Monsieur  D' Olive   (1605). 

d.  Eastward  Hoe  (1605).     With  Jonson  and  Marston. 

e.  The  Gentleman  Usher  (1606). 

2.  Tragedies. 

a.  The  Tragedy  of  Charles  Duke  of  Byron  (1608). 

b.  The  Revenge  of  Bussy  D'Ambois  (1613). 

57 


i/  OUTLINE  XXIX 

The  Drama  to  the  Closing  of  the  Theatres 

I.  JOHN  WEBSTER.     Life  obscure.     Unmatched  outside  of  Shakspere  in  pa- 
thos and  tragic  intensity.  • 
i.  The  White  Demi  (1608  acted). 

J2.  The  Duchess  of  Main  (acted,  1616).;** 
3.  Appius  and  Virginia  (acted,  1639). 

II.  THOMAS  MIDDLETON  (1570?-! 627). 

1.  The  Changeling  (with  Rowley)   (acted,  1623). 

2.  The  Spanish  Gypsy  (acted,  1623). 

3.  Women  beware  Women  (1657). 

:/    III.  THOMAS  DEKKER  (1570-1639?).    A  grolific  and  realistic  playwright, 
/i.  The  Shoemaker's  Holiday  (1600). 

2.  Old  Fortunatus  (1600). 

3.  Satiromastix  (1602).     Directed  against  Jonson. 

IV.  BEAUMONT  AND  FLETCHER. 

1.  Francis  Beaumont  (1584-1616).     Son  of  a  judge.     Studied  at  Oxford 
and  for  law.     Friend  of  Jonson  and  member  of  the  Mermaid  Tavern 
group. 

2.  John   Fletcher    (1579-1625).     Son   of   an   ecclesiastic.     Educated   at 
Cambridge.     Had   share   with    Shakspere   in   Henry    VIII   and    Two 
Noble  Kinsmen.     Died  of  plague.     Between  Beaumont  and  Fletcher 
there  were  composed  52  plays,  a  masque,  and  minor  poems.     It  is  now 
almost  impossible  to  allocate  authorship. 

Plays  by  Beaumont  and  Fletcher: 

a.  Philaster  (acted,  1608). 

b.  The  Maid's  Tragedy  (acted,  1609). 

c.  The  Knight  of  the  Burning  Pestle  (acted,  1610-11). 

d.  A  King  and  No  King  (licensed,  1611). 

V.  JOHN  FORD  (1586-1640). 

1.  The  Witch 'of  Edmonton  (1621).     With  Dekker.  Q-Ov^- 

2.  The  Broken  Heart  (1633).     Last  great  romantic  tragedy  before  1642. 

VI.  DOMESTIC  TRAGEDY.     A  realistic  tragedy  based  on  contemporary  crime 

or  sensational  event. 
^~    i.  Thomas  Hey  wood:    A  Woman  Killed  With  Kindness  (acted,  1603). 

2.  Anonymous:    Arden  of  Feversham    (1592);   A    Warning  for  Fair 
Women  (1598);  A  Yorkshire  Tragedy  (1605). 

VII.  OTHER  PLAYS.     Marston:    Antonio's  Revenge  (1602);  Chettle:     Trag- 
edy of  Hoffman  (1631)  ;  Massinger :  ^ /I  New  Way  to  Pay  Old  Debts 

(1633)-  i 


59 


OUTLINE  XXX 

The  English  Bible 

I.  TRANSLATIONS  BEFORE  MODERN  TIMES. 

1.  Bede  in  old  age  translated  St.  John. 

2.  Aldheim  made  a  version  of  the  Psalter. 

3.  King  Alfred  translated  the  Four  Evangelists. 

4.  JElfric  translated  the  first  seven  books  of  the  Old  Testament. 

All  of  these  were  paraphrases  from  the  Vulgate,  the  Latin  version  of 
Scriptures  made  by  St.  Jerome  at  close  of  4th  century. 

II.  TRANSLATIONS  OF  MODERN  TIMES. 

1.  John  Wyclif  (1324-1384).    '  The  last  of  the  Schoolmen  and  first  of  the 
Reformers.' 

Wyclif  was  assisted  by : 
v  a.  Nicholas  of  Hereford  who  translated  the  first  part  to  the  third  book 

of  Baruch; 

^^vb.  John  Purvey,  Wyclif  s  curate,  who,  in  1388,  revised  the  translation. 
Many  marks  of  Wyclif's  bible  remain  in  the  translated  Bible  of  to- 
day. 

2.  William  Tyndale    (1484-1536).     '  He  was   singularly   addicted   to  the 
study  of  the  Scriptures.'     (Foxe.) 

a.  In  1526  issued  from  Germany  a  translation  of  the  New  Testament. 

b.  In  1530  issued  translation  of  the  Pentateuch. 

c.  In  1531  issued  translation  of  Book  of  Jonah. 

The  nature  of  Tyndale's  work  is  indicated  by  the  fact  that  the  King 
James'  Version  includes  what  is  practically  a  modernization  of  Tyn- 
dale's New  Testament. 
Revisions  of  Tyndale's  Bible  occur  under  the  names  of: 

a.  Matthew's  Bible,  by  John  Rogers  (1537)  ; 

b.  The  Great  Bible,  prepared  by  Cranmer  (1539)  ; 

c.  Richard  Taverner's  Bible  (based  on  Matthew,  1539). 

3.  Miles  Coverdale  published  in  1535  the  first  English  version  of  the  whole 
Bible.  «•«» 

4.  Other  Translations. 

The  Geneva  Bible  (1557),  The  Bishop's  Bible  (1568),  and  The  Douay 
Bible  (1582-1610)  have  secondary  literary  value. 

5.  The  King  James   Bible,   undertaken   1604,   an  original  work  of  great 
scholarship,  has  held  its  place  as  one  of  the  finest  products  of  English 
literature. 


6l 


OUTLINE  XXXI 
y  Seventeenth  Century  Prose 

I.  THE  SCIENTIFIC  MOVEMENT. 

1.  Francis  Bacon  (1561-1626).     Son  of  Nicholas  Bacon.     His  character: 
intellectual  predominating  over  the  moral.     Anti-Aristotelian  philoso- 
pher.    He  places  observation  and  experiment  in  place  of  speculation. 
His  projected  reconstruction  of  the  sciences,  of  the  arts,  and  of  human 
knowledge.     Prose  works: 

a.  Essays  (1597;  1612;  1625).     Shrewd,  terse,  politic,  devoid  of  sen- 
timent. 

b.  The  Advancement  of  Learning  (1605).     Represents  a  summary  of 
the  world's  knowledge. 

c.  Novum  Organum  (1620).     Represents  Bacon's  scientific  inductive 
method.  i^ju^  &&£**&+       /  b  ^7 

2.  Thomas  Browne  (1605-1682).     Prose  marked  by  learning,  eloquence, 

and  rhythm. 

a.  Religio  Medici  (1642);  b.  Urn  Burial  (1658). 

3.  Robert  Burton   (1577-1640). 

Anatomy   of   Melancholy    (1621).     Encyclopaedic    learning,    conceits, 
fancy  in  the  garb  of  science. 

II.  PROBLEMS  OF  GOVERNMENT  AND  EDUCATION.     Treated  in  a  heavy  and 
scientific  manner.     Some  controversial,  as  related  to  the  political  activi- 
ties of  the  times. 
i^  Thomas  Hobbes  (1588-1679). 
v   a.  De  Corpore  Politico  (1650). 

b.  Leviathan  (1651).     Defense  of  pure  monarchy. 

2.  John  Milton  (1608-1674).     (See  Outline  XXXIII.) 

3.  John  Locke   (1632-1704)  :     Essay  concerning  Human  Understanding 
(1690). 

III.  CHARACTER  WRITING. 

i.  Joseph  Hall  (1574-1656):     Characters  of  Virtues  and  Vices  (1608). 
^  2.  Thomas  Overbury   (1581-1613):     Characters   (1614). 
3.  John  Earle    (1601-1665)  :     Microcosmographie   (1628). 

IV.  THEOLOGICAL  WRITERS. 

1.  Jeremy  Taylor  (1613-1667). 

a.  The  Liberty  of  Prophesying  (1647). 

b.  Holy  Living  (1650)  ;  Holy  Dying  (1651). 

2.  Thomas  Fuller  (1608-1661). 
'  a.  The  Holy  State  (1642). 

b.  Worthies  of  England  (1662). 

3.  John  Bunyan.     (See  Outline  XXXVII.) 

PASTORAL  PROSE. 

i.  Izaak  Walton  (1593-1683):     The  Compleat  Angler  (1653). 

rl.  CRITICISM.     John  Dryden.     (See  Outline  XXXVI.) 

VII.  DIARISTS. 

Samuel  Pepys  (1633-1703)  :     Diary  (1660-69;  deciphered  and  published, 
1828). 

John  Evelyn   (1620-1706):     Diary    (1641-1706;  printed,   1818). 

63 


OUTLINE  XXXII 
The  Seventeenth  Century  Lyric 

I.  THE  METAPHYSICAL  IMPULSE.  John  Donne  (1573-1631)  influenced  all 
other  poets  of  the  century.  Poetry  marked  by  subtlety  of  thought,  rich- 
ness in  scientific  and  philosophical  conceits,  fantastic  expressions,  and 
far-fetched  analogies  and  metaphors. 

II.  THE  CAVALIER  LYRISTS.     Their  poems  marked  by  facility  and  finish,  grace 
and  melody. 

1.  Thomas  Carew  (1598-1639).  ^o^xJ  / 

2.  Richard  Lovelace  (i6i8-i658).£^<t#<c  < 

3.  Sir  John  Suckling  (1609-1641).  <^O, 

III.  THE  PASTORAL  POETS.     In  their  works  a  sincere  feeling  for  nature  was 
expressed    in   the   conventional    formulas    of   the    pastoral    tradition    of 
Spenser. 

1.  William  Browne  (1590-1645). 

a.  Britannia's  Pastorals  (1613-16).        W 

b.  Shepherd's  Pipe   (1614).    * 

2.  George  Wither  (1588-1667). 
Fair  Virtue  (1622). 

(^  Phineas  Fletcher   (1582-1650). 
>      The  Purple  Island  (1633). 

IV.  DEVOTIONAL   POETS.     Marked   by   the   aristocratic   ease   of  the   Cavalier 
poets,  and  by  the  conceits  of  the  metaphysical  order  of  poetry. 

1.  The  Pastoral  Group. 

a.  Robert  Herrick  (1591-1674). 
Hesperides  (1648). 

Noble  Numbers  (1648). 

b.  Andrew  Marvell  (1621-1678). 

2.  The  Religious  Group. 

a.  Giles  Fletcher,  the  younger  (1588-1623). 
Christ's  Victory  and  Triumph  (1610). 

b.  George  Herbert  (1593-1633). 

c.  Richard  Crashaw   (1613-1650?). 

d.  Henry  Vaughan  (1622-1695'). 

V.  THE  CLASSICAL  REACTION. 

1.  Edmund  Waller  (1606-1687).     First  successfully  used  the  closed  coup- 
let later  adopted  by  Dryden. 

a.  Poems  (1645,  1664). 

b.  Divine  Love  (1685). 

2.  Sir  John  Denham  (1615-1669). 
Cooper's  Hill  (1642). 

3.  Abraham  Cowley  (1618-1667). 
The  Mistress  (1647). 

Also  writer  of  plays  and  of  a  biblical  epic,  Davideis  (1656). 


OUTLINE  XXXIII 
S  Milton:     Life  and  Works 

I.  LIFE  OF  JOHN  MILTON.  Born  in  London,  December  9,  1608.  After  at- 
tending St.  Paul's  School,  London,  went  to  Christ's  College,nCambridge 
(1625-29).  Revoked  his  intention  of  taking  holy  orders,  and  gave  him- 
self up  to  literature.  1632-38,  in  studious  retirement  at  Horton.  Read 
classical  authors  and  frequently  visited  London  to  take  lessons  in  math- 
ematics and  music.  1638-39,  traveled  on  the  Continent,  chiefly  in  Italy, 
where  he  was  received  as  a  distinguished  man  of  letters.  Upon  his  re- 
turn to  England  he  settled  in  London  as  a  writer  and  private  tutor.  In 
1643  married  Mary  Powell.  Published  numerous  tracts  on  political,  social, 
and  religious  subjects.  1649-60,  Latin  Secretary  to  the  Council  of  State 
under  the  Commonwealth.  By  1653  had  become  totally  blind.  At  the 
Restoration  (1660)  was  under  arrest  for  a  time.  From  1660  until  his 
death  (1674)  lived  in  literary  retirement  in  London. 

II.  WORKS. 

i.  Early  Poems. 

a.  On  the  Morning  of  Christ's  Nativity   (written,  1629). 

b.  Sonnet  on  His  being  Arrived  at  the  Age  of  Twenty-three  (written, 
1631). 

c.  Arcades  (c.  1630-3). 

d.  U Allegro  (written,  1634). 

e.  //  Penseroso  (written,_i634). 

f.  Comiis  (acted  at  Ludlow  Castle,  1634). 

g.  Lycidas  (elegy  on  the  death  of  Edward  King,  drowned  1637). 
Prose. 

a.  An  Apology  for  Smectymnuus  (1642).     An  argument  against  episco- 
pacy, in  support  of  those  writers  who,  under  the  name  '  Smectym- 
nuus,' had  replied  to  Bishop  Hall's  Humble  Remonstrance  (1641). 

b.  The  Doctrine  and  Discipline  of  Divorce  (1643).     A  defense  of  di- 
vorce, written  as  the  result  of  his  unhappy  marriage   (1643)   with 
Mary  Powell. 

c.  Areopagitica:   A    Speech   for   the   Liberty   of   Unlicensed  Printing 

(1644)- 

d.  Tractate  on  Education  (1644).^ 

e.  The  Tenure  of  Kings  and  Magistrates  (1649).     Expounds  the  right 
of  a  people  to  resist  the  oppression  of  a  monarch. 

f.  Eikonoklastes  (1649).     Directed  against  Eikon  Basilike,  a  glorifica- 
tion of  Charles  I  that  had  appeared  immediately  after  his  execution 
(1649). 

Later  Poems. 

a.  Sonnets. 

b.  Paradise  Lost   (1667,   1674).     (See  Outline  XXXIV.) 

c.  Paradise  Regained  (1671). 

d.  Samson  Agonistes   (1671). 


67 


OUTLINE  XXXIV 
v 

Milton:     Paradise  Lost 

I.  PUBLICATION. 

Published,  1667,  in  10  Books.  Second  edition,  1674,  in  12  BooksT  {Bks 
vii  and  x  of  1st  edition  divided  into  2  books  each.) 

II.  POSSIBLE  SOURCES. 

Andreini :     Adamo  (1613).     Scriptural  drama  in  Italian  recounting  many 

of  the  Scriptural  occurrences  recounted  in  Paradise  Lost. 

Vondel :     Lucifer  (1654).     Tragedy  in  Dutch  recounting  the  rebellion  of 

the  angels. 

Grotius :     Adamus  Exul  (1601),  in  Latin. 

A  large  number  of  poems  on  kindred  subjects  were  published  during  the 

ist  half  of  I7th  century,  especially  in  Italian. 

III.  GENESIS  OF  THE  POEM. 

By  1642  Milton  had  made  several  outlines  for  a  poem,  in  the  form  of  a 
Greek  tragedy,  on  the  subject  of  the  Fall  of  Man.  After  having  been 
laid  aside  for  a  term  of  years,  the  work  was  resumed  about  1658,  in  the 
form  of  an  epic.  (Milton  had  become  blind  about  1653).  The  poem 
was  substantially  complete  about  1663. 

IV.  COSMOGRAPHY. 

The  astronomical  system  represented  in  the  poem  is  not  our  present 
Copernican  system,  but  the  older  Ptolemaic  system.  According  to  the 
Ptolemaic  system  the  earth  is  the  fixed  center  of  the  universe,  and  the  ap- 
parent motions  of  the  other  celestial  bodies  are  caused  by  the  real  revolu- 
tions of  successive  heavens,  or  spheres,  enclosing  the  central  earth  at 
different  distances. 

V.  ARGUMENT. 

Book  I.     Hell.    The  Fallen  Angels. 

Book  II.     The  Consultation  in  Hell.     Satan's  Departure  for  the  Earth. 
Book  III.     Heaven.     Satan  is  seen  flying  towards  the  Earth.     The  Con- 
sultation in  Heaven. 

Book  IV.     The  Garden  of  Eden.     The  Arrival  of  Satan. 
Book  V.     *  God  to  render  man  inexcusable  sends  Raphael  to  admonish 
him.' 

\  Book  VI.     Raphael's  account  of  the  battle  in  Heaven.     Triumph  of  the 
Messiah  and  Expulsion  of  Satan. 
Book  VII.     Raphael's  account  of  the  Creation. 

Book  VIII.     Raphael  and  Adam  discuss  the  Cosmogony.     Adam  relates 
what  he  remembers  since  his  own  creation. 
Book  IX.    The  Temptation  and  Fall. 

Book  X.  The  Judgment  of  God.  The  Triumph  of  Satan.  The  Re- 
morse of  Adam  and  Eve. 

Book  XI.     God  sends  Michael  to  expel  them  from  Eden.     He  prophesies 
<  the  History  of  Man  till  the  Flood. 

Book  XII.  Michael  continues  the  History  of  Man  to  the  second  Advent. 
The  Expulsion  from  Paradise. 


D.w^> 

~V 

, 

V^Mf^ 


^3- 


^70 
$^JLS~ 


y^^. 


r 

4- 


v^ 


\^ 


^-^ 


J& 


N 


OUTLINE  XXXV 
The  Restoration  Drama 

I.  THE  FIRST  RESTORATION  PLAY. 

Jacobean  drama  had  come  to  an  end  in  16^2.  In  1656  Sir  William 
D'Avenant  (1605-1668)  a  Royalist  and  the  poet  laureate  erectetha-private 
stage  and  produced  thereon  The  Siege  of  Rhodes.  In  this  entertainment 
dramatic  machinery  was  for  the  first  time  introduced  from  France.  In 
1660  D'Avenant  and  Killegrew  secured  a  patent  for  the  first  Restoration 
playhouse.  On  this  stage,  music,  scenery  and  the  curtain  were  used  as  on 
the  modern  stage. 

II.  HEROIC  PLAYS.     A  type  of  play  specifically  defended  by  Dryden  and  prac- 
j^jtised  by  him  from  1664-1678.     It  is  characterized  by  bombast  and  written 
in  rimed  couplets. 

1.  Roger  Boyle,  Earl  of  Orrery  (1621-1679). 

1    Mustapha,  the  Son  of  Solyman  the  Magnificent  (1665). 

2.  Dryden  (see  Outline  XXXVI). 

a.  The  Indian  Emperor  (1665). 

b.  Almansor  and  Almahide,  or  the  Conquest  of  Granada   (1670). 

3.  Nathaniel  Lee  (i653?-i692). 
Nero,  Emperor  of  Rome  (1675). 

4.  Thomas  Otway   (1652-1685). 
Don  Carlos  (1675). 

III.  TRAGEDY. 

1.  Thomas  Otway. 

a.  The  Orphan  (1680). 

b.  Venice  Preserved   (1682).     '  The  best  tragedy  since   Shukspere/ 

2.  Dryden.  ,        T~~ 

>  All  for  Love,  or  The  World  Well  Lost  (1678).       <fe"*jw  S^a*,1  «c 

3.  Nicholas  Rowe  (1673-1718). 

Jane  Shore   (1714)  ;  Lady  Jane  Gray  (1715). 

IV.  THE   COMEDY  OF  MANNERS.     Prose   comedies   characterized  by   the   ex- 
treme of  French   influence,   particularly   from   Moliere.     The  plays   are 
witty,  worldly  and  licentious.     They  are  also  keenly  observant  of  con- 
temporary manners,  and  precise  in  diction  and  structure. 

1.  Sir  George  Etherege  (i6^4?-i6gi 
a.  The  Comical  Revenge  (i66V 

x  b.  The  Man  of  Mode 

2.  Sir  Charles  Sedley  (1639-1701). 
The  Mulberry 'Garden  (1668). 

3.  William  Wycherly  (1640-1715). 


Jill.       Vli.' 

1691)^ 

%)( 


a.  The  Country  Wife  (acted,  1673), 

b.  The  Plain  Dealer  (acted,  1674). 
4.  William  Congreve  (1670-1729). 

frtf     T  rt? 


a. 


1  mi 


695)- 


-sVftb.  The  Wav  of  the  World 

5.  Sir  John  Vanbrugh  (1664-1726). 

a.  The  Relapse  (1697). 

b.  The  Provoked  Wife  (1698). 

6.  George  Farquhar  (1678-1707). 
The  Beaux'  Stratagem  (1707), 

(O^A^  71 


tv^^^<^\ 


OUTLINE  XXXVI 


Dryden:     Life  and  Works 

I.  LIFE  OF  JOHN  DRYDEN.  Born  at  Aldwinkle  All  Saints,  Northampton- 
shire, August  9  (?),  1631.  Attended  Westminster  School,  London. 
Graduated  at  Trinity  College,  Cambridge,  1654.  Originally  a  Parliamen- 
tarian, became  later  a  Royalist.  Poet  Laureate,  1670-88.  Converted  to 
Roman  Catholicism,  1686.  Died  in  London,  May  i,  1700. 


^P(t/U*  CJ  J/\A  ovo  / 

^^X^HVJ 

JL{*K 


III. 


POEMS. 

i.  Early  Occasional  Poems. 

a.  Heroic  Stanzas  on  the  Death  of  Cromwell 

b.  ^^^R^du^^j^So} . 

Confroversial  Foems. 

a.  Absalom  and  Achitophel  (1681). 

b.  The  Medal  (1682). 

c.  MacFlecknoe(i6&2). 

d.  Religio  Laid  (1682). 

e.  The  Hind  and  the  Panther  (1687). 

3.  Lyrics. 

a.  Song  for  St.  Cecilia's  Day  (1687). 

b.  Alexander's  Feast  (1697). 

4.  Translation. 

jEneid  of  Virgil  (1697). 

DRAMATIC  WORKS. 

1.  Heroic  Plays. 

a.  The    TndJQft.   Ktwpprnr    (1665). 

b.  Tyrannic  Love,  or  the  Royal  Martyr  (1669). 

c.  Alamansor   and  Almahide,   or   the   Conquest   of   Granada    (1670- 
1672). 

d.  Aurengzebe  (1675). 

2.  Comedies? 

a.  The_  Wild  Gallant  (1662-63).  \)kc*  cW    jU** 

b.  TfizJjfatal  /  ndiei  (1664). 

c.  Sir  Martin  Mar- A II  (1667). 

d.  Marriage  a  la  Mode  (1672). 


b.  Don  Sebastian  (1690). 

IV.  PROSE. 

1.  Essay  of  Dramatic  Poesy  (1668) 

2.  Essay  on  Heroic  Plays  (1672). 


-^ 


- 

V>      i 
"" 


OUTLINE  XXXVII 
John  Bunyan 

I.  LIFE.  Born  Elstow,  near  Bedford,  1628.  Son  of  a  tinker.  At  seventeen 
drafted  into  the  Parliamentary  army.  Early  reading,  Plain  Mart's  Path- 
way to  Heaven  and  Practice  of  Piety.  Married,  1649.  Joined  Christian 
Fellowship,  incorrectly  called  Baptist,  1653.  Began  preaching,  1655.  A 
'  prisoner  for  conscience's  sake '  in  Bedford  Jail,  1660-1672.  Became 
licensed  preacher  under  Declaration  of  Indulgence.  Upon  withdrawal 
of  his  license,  served  six  months  in  jail,  1675,  during  which  time  he 
wrote  the  first  part  of  Pilgrim's  Progress.  Died,  1688. 

II.  BUNYAN'S  WORKS.     Composed  some  sixty  books. 

1.  Some   Gospel   Truths   Opened    (1656).     His   first   book,   against   the 
Quakers. 

2.  The  Holy  City,  Resurrection  of  the  Dead,  and  Grace  Abounding,  all 
written  during  twelve  years'   incarceration.     Grace  Abounding  is  an 

.       autobiography. 

3-  Pilgrim's  Progress  (ist  part,  1678;  2d  part,  1684). 
Nt  4.  The  Holy  War  (1682). 

III.  INFLUENCES  ON  PILGRIM'S  PROGRESS. 

1.  The  Dream  Allegory. 

a.  Langland:  Piers  Plowman.     (See  Outline  VIII.) 

b.  Spenser:  The  Faery  Queen.     (See  Outline  XX.) 

2.  The  Pilgrimage  Allegory. 

a.  Guillaume  de   Guileville    (fl.  c.   1360.     Paris)  :    Le  Pelerinage  de 
I'Homme. 

b.  Lydgate:   The  Pilgrimage  of  the  Life  of  Man   (1426?).     English 
version  of  the  preceding. 

c.  Geiler  von  Kaiserberg:  Christliche  Pilgerschaft  zum  Ewigen  Vater- 
land  (1512). 

3.  Moral  Allegory. 

Richard  Bernard  (1567-1641). 
The  Isle  of  Man  (1627). 

4.  Moral  Homily. 

Arthur  Dent:     The  Plain  Man's  Pathway  to  Heaven  (c.  1590). 

IV.  CHARACTERISTICS  OF  PILGRIM'S  PROGRESS. 

Style  based  on  that  of  the  Bible  and  Fox's  Book  of  Martyrs  studied  in 
Bedford  Jail.  Pure  and  homely  English.  Words  of  two  syllables. 
Allegory  transparent  in  the  names  of  the  characters.  Many  characteris- 
tics of  the  novel.  Human  interest.  Realistic  treatment.  Clear  charac- 
terization. English  atmosphere  and  scenery. 


/  OUTLINE  XXXVIII 

Defoe  and  the  Beginnings  of  Journalism 

I.  LIFE  OF  DANIEL  DEFOE.  Born  in  London,  i66i(?).  Received  a  gooc 
education  in  a  dissenting  academy  at  Newington  Green^  Althougl 
trained  for  the  dissenting  ministry,  he  entered  mercantile  business 
Wrote  numerous  tracts  on  political  subjects.  Defended  character  am 
policies  of  King  William  (See  The  Trueborn  Englishman).  As  a  resul 
of  his  pamphlet,  The  Shortest  Way  with  the  Dissenters,  was  imprisoned 
1703-04.  Later  took  an  active  part  in  politics,  and  served  the  govern 
ment  several  times  as  secret  agent.  Began  novel-writing  late  in  life  witf 
Robinson  Crusoe  (1719).  Died,  1731. 

II.  WORKS  OF  DEFOE. 

1.  Pamphlets.     Of  the  large  number  of  occasional  pamphlets  the  follow- 
ing are  examples: 

a.  The  Occasional  Conformity  of  Dissenters  (1698). 
v/  b.  The  Shortest  Way  with  the  Dissenters  (1702). 
c.  Reasons  against  the  Succession  of  the  House  of  Hanover  (1713). 

2.  Periodical  Writing. 

a.  A  Review  of  the  Affairs  of  France  (1704-13). 

Appeared  at  first  once,  later  twice,  and  finally  thrice  a  week.  An  im- 
aginary '  Scandal  Club  '  contributed  to  its  pages.  Written  entirely  b) 
Defoe.  A  landmark  in  English  periodical  literature.  Helped  tc 
suggest  The  Toiler  and  The  Spectator.  (See  Outline  XL.) 

b.  Other  periodicals  and  newspapers. 

During  the  periods  indicated  Defoe  was  in  some  way  connectec 
with  the  following:  Mercurius  Politicus  (1716-20)  ;  The  Whitehal 
Evening  Post  (1718-20);  The  Daily  Post  (1719-25);  Applebce't 
Journal  (1720-26). 

3.  Novels. 

a.  Robinson  Crusoe   (1719-20},^ 

b.  Captain  Singleton  (1720). 

c.  Moll  Flanders  (1722). 

d.  Colonel  Jack  (1722). 

e.  Jonathan  Wild   (1725)., 

III.  JOURNALISM  BEFORE  AND  AFTER  DEFOE. 

1.  Distribution  of  News. 

a.  The  Weekly  News  (1622-41). 

b.  The  Intelligencer  (begun,  1663).     Edited  by  Roger  L'Estrange. 

c.  The  London  Gazette  (1666  to  present  time). 

d.  The  Daily  C  our  ant  (begun,  1702).     The  first  English  daily  paper. 

2.  Editorial  Commentary  and  Criticism. 

a.  The  Taller  (1709-11).     (See  Outline  XL.) 

1).  The  Spectator  (1711-12,  1714).     (See  Outline  XL.) 


77 


OUTLINE  XXXIX 

Jonathan  Swift 

I.  LIFE.  Born  Hoey's  Court,  Dublin,  1667.  At  Kilkenny  Grammar  School, 
1674-82.  B.A.,  '  by  special  grace,'  Trinity  College,  Dublin,  1686.  Pro- 
tege of  Sir  William  Temple,  at  Moor  Park,  1688-99.  Took  orders,  1695. 
Laracor,  1700.  Active  in  controversy  and  political  intrigue.  Intimate 
with  Tory  ministers,  1710-14.  Edited  Examiner,  1710-11.  Disappointed 
of  a  bishopric,  accepted  Deanery  of  St.  Patrick's,  Dublin,  1713.  Death 
of  Queen  Anne  and  Fall  of  Tory  Party,  1714.  From  this  time,  resided 
mainly  in  Ireland.  Last  years  excessively  melancholy,  especially  after 
the  death  of  *  Stella'  (Esther  Johnson),  1728.  Became  violently  insane, 
1741.  Died  1745,  leaving  his  fortune  to  found  a  lunatic  asylum  in  Dublin. 

II.  WRITINGS. 

1.  Poems.     Chiefly  mocking  and  satiric  in  tone. 

a.  Miscellanies  (1711). 

b.  Cadenus  and  Vanessa  (written,  1713). 
'c.  On  The  Death  of  Dr.  Swift  (1731). 

2.  Controversial  Papers. 

j  a.  The  Battle  of  the  Books  (1704,  written,  1698):', 

b.  The  Tale  of  a  Tub  (1704,  written,  1696-8). 

c.  Contents  and  Dissensions  in  Athens  and  Rome  (1701). 

d.  Sentiments  of  a  Church  of  England  Man  (1708). 

e.  Argument  against  Abolishing  Christianity  (1708). 

f.  The  Conduct  of  the  Allies  (1711). 

g.  The  Public  Spirit  of  the  Whigs  (1714). 
h.  Letters  of  M.  B.  Drapier  (1724). 

'  i.   A  Modest  Proposal  for  Preventing  the  Children  of  Poor  People  from 
being  a  Burden  to  their  Parents  (1729). 

3.  Prose  Miscellanies. 

/  a.  Meditation  upon  a  Broomstick  (1704). 
y   ''b.  Predictions  of  Isaac  Bickerstaif  (1708). 

c.  Account  of  Partridge's  Death  (1708). 

d.  Polite  Conversation   (1738). 

e.  Directions  for  Servants  (written  before  1738). 
Journal  to  Stella  (written,  1710-13). 

Travels  of  Lemuel  Gulliver  (1726). 
6.  The  History  of  the  Four  Last  Years  of  Queen  Anne  (1758). 

III.  SIGNIFICANCE.     Swift's  language  is  studiously  plain;  but  a  savage  irony 
underlies  his  apparent  directness  and  simplicity,  and  his  criticism  is  at 
once  penetrating  and  destructive.     He  preceded,   and  his  writings   and  ! 
conversation  powerfully  influenced  the  chief  wits  of  the  Queen  Anne  ^ 
period  and  after.    The  periodicals  of  Addison  and  Steele,  Pope's  satires,  / 
and  later,  Fielding's  novels,  show  this  influence  in  various  ways. 


79 


OUTLINE  XL 
The  Periodical  Essay 

I.  FORERUNNERS. 

1.  Essayists:     Bacon,  Abraham  Cowley.  Dryden,  Sir  William^ Temple. 
(See  Outline  XXXI".) 

2.  Character  Writers:     Sir  Thomas  Overbury  (1581-1613)  ;  John  Earle, 
Bishop  of  Salisbury  (d.  1665).     (See  Outline  XXXL) 

3.  Journalists   and   Pamphleteers:     Sir   Roger   L'Estrange    (1616-1704). 
(See  Outline  XXXVIII.) 

4.  Swift's  Bickerstaff  Papers.     (See  Outline  XXXIX.)     DamgLJlefoe. 
(See  Outline  XXXVIII.) 

II.  SIR  RICHARD  STEELE. 

1.  Life.     Born,  Dublin,  1672.     Charterhouse  School.     Christ  Church,  Ox- 
ford.   Joined  Life  Guards,  1695,  and  rose  to  a  captaincy.     Began  writ- 
ing for  the  theater  in   1701.     Member  of  the  '  Kit-Cat  Club.'     Ap- 
pointed  Gazetteer,    1707.     Successively  managed  some  eight  periodi- 
cals, including  The  Taller,  1709,  and  The  Spectator^  1711-14.    Twice 
married.     Ejected  from  House  of  Commons,  1714.     In  1715,  became 
Supervisor  of  Drury  Lane  Theater;  again  elected  Member  of  Parlia- 
ment; knighted  by  George  I.     Badly  in  debt,  retired  to  Wales,  and 
there  died,  1729. 

2.  Writings. 

"  a.  The  Christian  Hero  (1701).     A  religious  manual. 

b.  Plays:     The  Funeral,  or  Grief  a  la  Mode  (acted,  1702)  ;  The 
Loyzr  (acted,  1703)  ;  The  Tender  Husband  (acted,  1705)  ^ 
scio us  Lovers  (  acted .  1722). 

c.  Periodicals  and  Pamphlets   (1709-22). 

III.  JOSEPH  ADDISON. 

1.  Life.     Born,  Lichfield,  1672.     Charterhouse  School.     Queen's  College, 
Oxford.     Fellow  at  Magdalen  to  1699.     Pensioned.     Traveled.     Lon- 
don.    Intimate   with    Swift   and   Steele,   about   1705.     Contributed   to 
The  Tatler  and  The  Spectator,  1809-14.     Secretary  for  Ireland,  1714. 
The   Freeholder,    1715.     Commissioner    for   Trade   and   the    Colonies. 
1716.     Married  to  Countess  of  Warwick.     Rupture  with  Steele  caused 
by  political   differences.     Secretary   of   State,    1717.     Retired   with   a 
pension,  1718.     Died,  1719. 

2.  Writings. 

y  a.  Poems.     The  Campaign  (1704)  made  his  political  fortune.  • 

b.  Plays:    Rosamond  (acted,  1706)  :  Cat  a  (acted,  1713);  political  in- 
terest gave  it  a  long  run;  The  Drummer  (acted,  1715). 

c.  Periodicals  and  pamphlets  (1694-1719). 

IV.  CO-OPERATIVE  PERIODICALS  OF  ADDISON  AND  STEELE. 

1.  The  Tatler  (1709-11).    -"' 

2.  The    Spectator    {1711-12,    and    1714),    embracing    The    DeCoverley 
Papers. 

3.  The  Guardian   (1713). 


Si 


OUTLINE  XLI 
Alexander  Pope 

I.  LIFE.  Born  Lombard  Street,  London,  1688,  of  Catholic  parents.  Pre- 
cocious ;  privately  educated.  Claimed  to  have  written  his  Pastorals, 
1704.  Friendship  and  quarrel  with  Wycherley,  1705-10.  Most  produc- 
tive member  of  the  Scriblerus  Club,  founded  by  Swift  to  chastise  poetasters 
and  hack-writers.  Prologue  to  Cato,  1713.  Rupture  with  Addison,  1715. 
With  proceeds  of  Homer  translations  purchased  Twickenham,  1717. 
Pope  quarreled  with  John  Dennis,  the  critic;  Edward  Curll,  the  pub- 
lisher ;  Theobald,  the  editor  of  Shakspere ;  Colley  Cibber,  the  actor.  All 
these,  with  many  others,  figure  in  The  Dunciad.  His  friendship  with 
Lady  Mary  Wortley  Montagu  ended  in  a  feud.  Friendships  which  re- 
mained more  or  less  intact  were  those  with  Swift,  Arbuthnot,  Gay, 
Bolingbroke,  Warburton,  and  Martha  Blount  Died,  1744. 

II.  POEMS. 

T.  Imaginative  and  elegiac. 

a.  Pastorals  (1709). 

b.  The  Messiah  (1712). 

The  Rape  of  the  Lock  (1712-14).,, 
.  Windsor  Forest  (1713). 

e.  Elegy  to  the  Memory  of  an  Unfortunate  Lady  (1717). 

f.  Epistle  from  Eloisa  to  Abelard  (1717). 

2.  Didactic. 

T>  a.  Essay  on  Criticism  (1711). 
^-~b.  Essay  "on  Man  (1732-34)^ 

c.  Moral  Essays  (1731-35). 

3.  Satiric. 

-~a.  The  Dunciad  (1725,  1729,  1742,  1743). 

b.  Imitations  of  Horace  (1733-37). 
^~c.  Epistle  to  Arbuthnot  (1735). 

d.  Contributions  to  the  Grub  Street  Journal  (1730-37). 

4.  Translations. 

a.  Statius'  Thebais,  Book  I   (1712). 

b.  The  Iliad  (1715-18). 

c.  The  Odyssey  (1725-26). 

5.  Adaptations. 

a.  The  Wife  of  Bath  (Adapted  from  Chaucer,  1714). 

b.  The  Satires  of  Dr.  Donne  Versified  (1735). 

III.  EDITORIAL  WORK. 

Edition  of  Shakspere  (1725). 

IV.  CORRESPONDENCE. 

Pope's  letters,  prefaces,  notes  and  dedications  were  elaborately  mysti- 
fying and  disingenuous.  He  plotted  for  the  publication  of  his  letters 
and  then  abused  his  friends  and  publishers  for  the  result. 


OUTLINE  XLII 


The  Eighteenth  Century  Novel 


PROSE  FORERUNNERS  ALLIED  TO  THE  NOVEL. 
i.  Records  of  Fact.  (k^'1 

John  Evelyn. 


-' 


a.  Diaries.     Samuel  Pepys. 

b.  Biography. 

c.  Chronicles  of  adventures. 

2.  Romances.^  ^   o^ 

3.  Realistic  Fictions. 

-    a.  The  DeCoverley  Papers.     (See  Outline  XL.) 
"-     b.  Defoe's  narratives.     (See  Outline  XXXVIII.) 
__     c.  Gulliver's  Travels.     (See  Outline  XXXIX.)  ,7  ^ 

4.  Influential  Narratives  by  Foreign  Authors. 

a.  Cervantes:     Don  Quixote. 

b.  Le  Sage:     Gil  Bias. 

II.  CHIEF  NOVELISTS. 

1.  Samuel  Richardson  (1689-1761). 

a.  Pamela,  or  Virtue  Rewarded  (1740).^ 

b.  Clarissa  Harlowe  (1748).^ 

c.  Sir  Charles  Grandison  (1753).  4 

2.  Henry  Fielding  (1707-54). 

a.  Plays. 

Tom  Thumb,  the  Great  (1730). 
Don  Quixote  in  England  (1734). 
The  Intriguing  Chambermaid  (1734). 
The  Historical  Register  (1737). 

b.  Novels. 

The  Adventures  of  Joseph  Andrews  (1742).'* 
Jonathan  Wild  the  Great  (1743).  5 
The  History  of  Tom  Jones  (1749).^ 
Amelia  (1751).  o 

3.  Tobias  Smollett  (1721-1771).  w-  ^ 

a.  The  Adventures  of  Roderick  Random   (1748).^ 

b.  The  Adventures  of  Peregrine  Pickle  (i75i).<3 

c.  The  Adventures  of  Ferdinand,  Count  Fathoin   (1753). 

d.  The  Adventures  of  Sir  Launcclot  Greaves  (1762). 
X.  e.  The  Expedition  of  Humphrey  Clinker  (1771). 

4.  Laurence  Sterne  (1713-68). 

a.  The  Life  and  Opinions  of  Tristram  Shandy  (1759-67). 
.   b.  Sentimental  Journey  through  France  and  Italy  (1768). 

III.  MINOR  FICTION  OF  THE  PERIOD. 

T.  David  Simple  (1742),  by  Sarah  Fielding.     (Novel.) 

2.  Chrysalt  or  the  Adventures  of  a  Guinea  (1760),  by  Charles  Johnstone. 

(Satiric  tale.) 

Rasselas  (1759),  by  Samuel  Johnson.     (Didactic  romance.) 

The   Castle   of   Otranto    (1764),    by    Horace    Walpole.     (Gothic    ro- 

mance.) 

5.  The  Vicar  of  Wakefield  (1766),  by  Oliver  Goldsmith.     (Novel.) 

6.  The  Man  of  Feeling  (1771),  by  Henry  Mackenzie.     (Sentimental  ro- 
mance.) 


OUTLINE  XLIII 
Johnson  and  Boswell 

I.  SAMUEL  JOHNSON  (1709-84). 

1.  Life.     Born,  Lichfield.     Studied  at  Lichfield  Grammar  School  and 
his  father's  bookstore.     Entered  Pembroke  College,  OxiL>rd7  1728,  r 
mainrng    fourteen    months.     Schoolmaster    and   hack-writer    for    ma] 
years.     Married   Mrs.   Porter,   who   was   twenty-one  years  his   seme 
With  David  Garrick,  went  to  seek  his  fortune  in  London,  1737.     Pu 
lished  his  Dictionary,  1755.     Pensioned  by  George  III,  1762.     Met  Be 
well,  1763.     The  Club  formed,  1764.     Intimate  with  the  Thrales  (176 
80).     With  Boswell  toured  the  Hebrides,  1773. 

2.  Literary  Activity. 

a.  Poems. 

$  London   (1738). 

The  Vanity  of  Human  Wishes  (1749). 
r    Irene,  a  tragedy  (acted,  1749). 

b.  Early  hack  work. 

Translation  of  Lobo's  Voyage  to  Abyssinia  (1735). 
Parliamentary  Debates  (1740-43). 

c.  Lexicography. 

Plan  of  a  Dictionary  (1747). 
TN     Dictionary  of  the  English  Language  (1755). 

d.  Periodicals. 

-   The  Rambler  (1750-52). 
'  The  Idler  (1759-60). 
v  e.  Rasselas  (1759).     A  didactic  romance. 

f.  Biographies,  critiques,  etc. 
Life  of  Savage  (1744). 

/     Edition  of  Shakspere   (1759). 
Lives  of  the  Poets  (1779-81). 

g.  Miscellaneous  and  occasional  papers. 
Letter  to  Lord  Chesterfield  (1755). 
Detection  of  the  Cock  Lane  Ghost  (1763). 
Taxation  No  Tyranny  (1775). 

'    Journey  to  the  Western  Islands  (1775). 

3.  Conversation. 

Preserved  '  in  an  authentic  and  lively  manner '  in  Boswell's  Life. 

II.  JAMES  BOSWELL  (1740-95). 

1.  Life.     Son  of  a  Scotch  laird  of  Auchinleck,  Ayrshire.     Educated  i 
the  law  at  Edinburgh  and  Glasgow.     Called  to  the  English  bar,  17! 
An  assiduous  admirer  of  great  men, —  Rousseau,  Paoli.     Attached  hi: 
self  to  Johnson,   1763.     Admitted  to  the  Literary   Club,  on  Johnsoi 
motion,  1773. 

2.  Writings. 

-^       a.  Journal  of  a  Tour  to  the  Hebrides  with  Dr.  Johnson  (1785). 
-^   b.  Life  of  Samuel  Johnson,  L.L.D.  (1791). 


OUTLINE  XLIV 


Dr.  Johnson's  Circle 

I.  DAVID  GARRICK  (1717-79).  Foremost  actor  of  the  time.  Manager  of 
Drury  Lane  Theater.  Author  of  many  clever  farces,  comedies,  _pro- 
logues  and  adaptations.  Johnson  said  of  his  death,  that  it  had  '  eclipsed 
the  gaiety  of  nations.' 


II. 


III. 


SIR  JOSHUA  REYNOLDS  (1723-92).  Portrait-painter  of  first  rank.  His 
character  and  judgment  were  highly  respected.  Goldsmith  dedicated  to 
him  The  Deserted  Village,  and  Boswell  the  Life  of  Johnson.  Johnson 
declared  him  '  the  most  invulnerable  man  he  knew.'  First  President  of 
the  Royal  Academy,  1768.  Author  of  Discourses  on  painting. 

OLIVER  GOLDSMITH  (1728-74). 

1.  Life.     Born  Pallas,  County  Longford,  Ireland.     Entered  Trinity  Col-   V\ 
lege,  Dublin,  1744.     Rejected  for  holy  orders,  tried  law  and  then  medi- 
cine.    At  twenty-six  tramped  the  continent  practically  without  funds. 
From  about  1757,  lived  in  London  on  proceeds  of  his  writing.     His 
Latin  epitaph  in  Westminster  Abbey,  by  Johnson,  declares  :     '  There 
was  scarcely  a  species  of  writing  which  he  did  not  touch,   and  he 
touched  none  that  he  did  not  adorn  it' 

2.  Works. 

a.  Citizen  of  the  World  (1760-61). 

b.  The  Traveler  (1764;  begun  1757). 

c.  The  Deserted  Village  (1770). 

d.  The  Vicar  of  Wakcfield  (1766). 


•  e.  The  Good  Natured  Man  (1768). 
f.   She  Stoops  to  Conquer  (1773).^^^ 


V. 


EDMUND  BURKE  (1729-97). 

1.  Life.     Born  in  Dublin.     Studied  at  Trinity  College  and,  later,  read 
law  at  the  Middle  Temple,  London.     Editor  of  Dodsley's  Annual  Reg- 
ister, 1759.     First  Speech  in  Parliament,  1766.     Purchased  *  Gregories,' 
1769.     Visit  to  France,  1773.     Fall  of  the  Whigs,  1783.     Impeachment 
of  Hastings,  1786.     Retirement  from  Parliament  and  death  of  Rich- 
ard Burke,  1794. 

2.  Works.  ^ 

Vindication  of  Natural  Society  (1756)  ;  Our  Ideas  of  the  Sublime  and 
Beautiful  (1756);  Thoughts  on  the  Present  Discontents  (1770); 
Speech  on  American  Taxation  (1774)  ;  Speech  for  Conciliation  with 
the  Colonies  (1775)  '^Reflections  on  the  Revolution  in  France  (1790)  ; 
Letters  on  a  Regicide  Peace  (1796-7). 

EDWARD  GIBBON  (1737-94). 

1.  Life.     Born,  Putney,  Surrey,  1737.     Westminster  School,  1749.     Mag- 
dalen College,  Oxford,   1752.     Removed  and  placed  in  the  household 
of  M.  Pavilliard,  a  Calvinist  minister  at  Lausanne,  Switzerland,  1753. 
Here,  he  became  a  sound  scholar.     Visit  to  Italy  and  conception  of 
Decline  and  Fall,  1764.     Settled  in  London,  1772.  '  Joined  the  Literary 
Club,  1774.     Lausanne,  1783-93.     Died  in  London. 

2.  Works.  X 

Essai  sur  r elude  de  la  Litterature  (1761)  ;  The  History  of  the  Decline 
and  Fall  of  the  Roman  Empire,  Vol.  I  (1776)  ;A^ols.  II  and  III  (1781)  ; 
Vols.  IV.  V,  and  VI ^(1788):  Memoirs  of  his  Life  and  Writings 
(1796). 

89 


OUTLINE  XLV 


The  Beginnings  of  Romanticism 


Particular  interest  in  the 


Scotch.     Settled  in  London,  1725. 

Partly  written  by  1733.     Best  of  the 


I.  THE  REACTION. 

1.  Subject  Matter. 

a.  Nature  and  primitive  life. 
,    b.  The  past.     The  remote.     The  unfamiliar. 
Middle  Ages. 

2.  Style.     Diffuseness,  freedom,  simplicity,  archaism. 

3.  Verse  Form. 

a.  Miltonic  blank  verse.     Octosyllabics.     Sonnet. 

b.  The  Spenserian  stanza. 

c.  The  ballad. 

d.  Variety  of  rhythm  and  melody. 

4.  Temper. 

Subjectivity,    individualism,    spontaneity,    melancholy,    mystery,    sensi- 
bility, wonder. 

II.  EARLY  REACTIONARIES. 

1.  lames  Thomson   ( 1700-48). 
%    a.  The  Seasons ~\ 1 726-30 ) . 

^  b.  The  Castle  of  Indolence  (1748). 
imitations  of  Spenser. 

c.  Liberty   (1734-36). 

d.  Several  tragedies,  of  slighter  interest. 

2.  Edward  Young  (1681-1765).     Lay  fellow  of  All  Souls,  Oxford.     Took 
holy  orders  when  advanced  in  years,  1728.     His  tragedy,  Busiris,  1719, 
succeeded  on  the  stage.     The  Complaint,  or  Night  Thoughts  on  Life, 
Death  and  Immortality,  1742-45.  v 

3.  Robert  Blair  (1699-1746).     Scotch  minister.  'The  Grave,  1743. 

4.  John  Dyer  (1700 P-I758).     Welshman.     Grongar  Hill,  1726.    The  Ruins 
of  Rome,  1740.     The  Fleece,  1757. 

5.  William    Shenstpne    (1714-64).     'The    bard    of    the    Leasowes.'     The 
Schoolmistress,  "1742. 

*  Wl'11inrn  Collins  (1721-^0).  Born,  Chichester.  Educated  at  Winches- 
ter and  at  Magdalen  College,  Oxford.  Scholarly.  Friend  of  Thom- 
son and  Joseph  and  Thomas  Warton.  Mental  decline  began,  1749.  Be- 
came insane  in  1754. 

a.  Persian  Eclogues   (1742). 

b.  Odes  on  Several  Subjects  (1746). 

c.  Ode  on  the  Death  of  Thomson  (1748). 

d.  Ode  on  the  Popular  Superstitions  of  the  Scottish  Highlands  (1788). 


OUTLINE  XLVI 
The  Revival  of  the  Past 

I.  THOMAS  GRAY  (i7i6-i77iV 

1.  Life.     Born  Cornhill,  London.     Eton,  1727.     Peterhouse—  Cambridge, 
1734-38.     Continent,    with    Walpole,    1739-41.     Stoke    Poges,    1741- 
2.     Life    spent    chiefly    in    study    at    Cambridge,    Peterhouse,    1742  - 
56,   Pembroke  Hall,   1756-71.     L.L.B.,  ^744.     Refused  Laureateship, 
1757.     Appointed    Professor    of    Modern    History,    1768.     Numerous 
tours  including  Scotland,  Wales,  English  Lakes,  and  the  Wye,  1762-70. 

2.  Publications. 

a.  Ode  on  a  Distant  Prospect  of  Eton  College  (1747). 

b.  Ode  on  the  Spring  (1748). 

c.  Elegy  in  a  Country  Churchyard  (1751). 

d.  Six  Poems  by  T.  Gray  (1753). 

e.  Pindaric  Odes  (1757). 

f.  Poems  (1768). 

g.  Memoirs   of   the   Life    and    Writings   of   Gray,   with   his  Poems 
(Mason;  1775). 

II.  HORACE  WALPOLE  (1717-1797).  Son  of  Sir  Robert  Walpole.  Compan- 
ion of  Gray  at  Eton  and  Oxford  and  on  his  early  travels.  Made  his 
house  at  Strawberry  Hill,  '  a  little  Gothic  castle/  1747.  Published  The 
Castle  of  Otranto,  1764;  The  Mysterious  Mother,  1768.  Earl  of  Oxford, 
1791. 

III.  RICHARD  HURD  (1720-1808).     Fellow  of  Emmanuel  College,  Cambridge. 
Bishop  of  Lichfield  and  Coventry,   1774;  of  Worcester,   1781.    Letters 
on  Chivalry  and  Romance,  1762. 

IV.  THOMAS  WARTON    (1728-90).     Entered  Trinity  College,  Oxford,   1744. 
Fellow,   1751-90.     Professor  of  Poetry,   1757-67.     Enthusiastic  antiqua- 
rian and  editor.     Wrote  and  published  considerable  verse.     Observations 
on  Spenser's  Faery  Queen,  1754.     History  of  English  Poetry,  1774-81. 
Helped  expose  Chatterton  forgeries,  1782.     Poet-laureate,  1785-90. 

V.  THOMAS  PERCY  f  1720-181  iV  M.A.,  Christ  Church,  Oxford,  1753. 
Bishop  of  JJromore,  1782.  Edited  Reliques  of  Ancient  English  Poetry, 
1765.  (See  Outline  XIII.)  Northern  Antiquities,  1770. 

VI.  JAMES  MACPHERSON  (1736-96).  Scotchman.  Educated  at  Aberdeen 
and  Edinburgh.  Published  Fragments  of  Ancient  Poetry  collected  in  the 
Highlands,  1760;  Fin  gal  t  1762;  Temora,  1763;  all  alleged  translations 
from  the  Gaelic  of  Ossian. 

VII.  THOMAS  CHATTERTON  (1752-1770).  Born  and  lived  at  Bristol.  First 
verses,  1762.  First  publications,  1763.  Pretended  to  have  discovered 
poems  of  Thomas  Rowley  among  documents  of  St.  Mary  Redcliffe 
Church,  1765.  Went  to  London,  1770.  Poisoned  himself  with  arsenic, 
1770.  Editions  of  '  Rowley '  poems,  1777  and  1782,  included  Bristowe 
Tragedie;  JElla,  a  Tragycal  Enterlude;  Goddwyn,  a  Tragedie;  Balade  of 
Charitie;  Battle  of  Hastings. 


OUTLINE  XLVII 

The  Progress  of  Naturalism 

I.  WILLIAM   CQWPKR   (1731-1800). 

1.  Life.    Born,  Great  Berkhampstead.     Suffered  from  brutal  jtreatmen 
at  private   school,    1737-8.    Attended   Westminster    School,    1741-4$ 
Articled  to  a  London  solicitor,  1750-52.     First  signs  of  melancholia 
Called  to  the  bar,   1754.     Violently  insane;  1763-5.     Entered  Unwii 
family,    1765.     Occupied    with    parochial    work    and    devotions.     Re 
moved  with  Mrs.  Unwin  to  Olney,  1767.     Second  attack  of  insanity 
1773.     Began  literary  work,  1777-80.     Friendship  with  Lady  "Auster 
Ended  through  Mrs.  Unwin's  jealousy,  1784.     Third  attack  of  insan 
ity,  1787.     Never  wholly  recovered: 

2.  Publications. 

a.  Poems. 

Olney  Hymns  (with  Newton,  1779). 
Table  Talk  (1782). 
^  The  Task  (and  other  poems,  1785) 
Translation  of  Homer  (1791). 

b.  Letters  (1824). 


II.  GEORGE  CRA^E  (1754-1832). 

1.  Life:    Sorn,     Aldborough,     Suffolk.    Largely     self-educated.     Studie 

medicine,  surgery,  botany.  Practised  surgery  until  1780.  Tried  lit 
erary  work  in  London.  On  Burke's  advice  went  into  holy  orden 
Held  various  livings,  and  was  never  again  in  want. 

2.  Poems:     The  Candidate  (1780)  ;  The  Village  (1783)  ;  The  Newspape 
(1785)  ;  The  Parish  Register  (1807)  ;  The  Borough  (1810)  ;  Tales  i 
Verse  (1812)  ;  Talcs  of  the  Hall  (1819). 

III.  WILLIAM  BLAKE  (1757-1827). 

1.  Lite.    London.     Began    study    of    drawing,    1767.    Apprenticed    t 
James  Basire,  an  engraver,  1771-78.    First  exhibited  at  Royal  Acad 
emy,    1780.    Literary   period,    1783-1804.    Engravings    for   Young' 
Night  Thoughts,  1797.    Residence  at  Felpham,  1800-03.    Engraving 
for  Hayley's  Life  of  Cowper,  1803.    Tried  for  sedition,  1804.    De 
signs  for  Blair's  The  Grave,  1808.    The  Canterbury  Pilgrims,  181; 
'  Inventions  '  to  the  Book  of  Job,  1825.    Designs  to  Dante,  1824-27. 

2.  Examples  of  Literary  Work.     (All  of  these,  except  the  first,  were  en 
graved  upon  plates  and  embellished  with  designs  by  himself.) 

a.  Poems. 

Poetical  Sketches  (1783). 
Songs  of  Innocence  (1789). 
Songs  of  Experience  (1794). 

b.  Prophetic  Books:    The  Book  of  Thel  (1789);   The  Marriage  o 
Heaven  and  Hell  (1790)  ;  America,  A  Prophecy  (1793)  ;  Jerusalem 
(1804);  Milton  (1804), 


OUTLINE  XLVIII 
Robert  Burns 

I.  LIFE.  Born  near  Kirk  Alloway,  Ayrshire,  1759.  Educated  by  his_  father. 
Youth  spent  in  labor  on  various  Ayrshire  farms.  Mount  OlipEant,  1766- 
77.  Lochlea,  1777-84.  Tried  flax-dressing  at  Irvine,  1781.  His  habits 
became  convivial  and  lawless  and  his  opinions  unorthodox.  Father  died, 
1784.  With  his  brother  Gilbert,  managed  Mossgiel  farm,  1784-86.  Re- 
solved to  leave  Scotland  for  Jamaica.'  To  defray  passage  published  first 
edition  of  Poems,  1786.  Success  led  him  to  remain  and  bring  out  a  second 
edition.  Edinburgh,  winters  of  1786-87  and  1787-88.  Highland  tour, 
summer  of  1786.  Realized  five  hundred  pounds  for  copyright  of  his 
poems.  Married  Jean  Armour  and  took  farm  at  Ellisland,  near  Dumfries, 
1788.  Took  post  in  the  excise,  1789.  Gave  up  farm  and  removed  to 
Dumfries,  1791.  Health  and  reputation  injured  by  loose  habits.  Nearly 
lost  position  in  excise  because  of  revolutionary  sympathies. 

II.  CHIEF  PUBLICATIONS. 

Y^i.  Poems,  chiefly  in  the  Scottish  Dialect  (Kilmarnock,  1786). 
Among  the  poems  in  this  edition  are : 
The  Two,  Dogs. 
Scotch  Drink. 
The  Holy  Fair. 
Address  to  the  Deil. 
Poor  Mailie. 
Hallowe'en. 

The  Cotter's  Saturday  Night. 
To  a  Mouse. 
To  a  Mountain  Daisy. 
Man  was  Made  to  Mourn. 
Several  of  the  Epistles. 
Songs  (only  three  or  four). 

2.  The  Same.     Second  (first  Edinburgh)  Edition  (1787). 

Poems  added  in  this  edition  were:  Death  and  Doctor  Hornbook,  The 
Brigs  of  Ayr,  A  Winter  Night,  Address  to  the  Unco  Guid,  To  a  Haggis, 
John  Barleycorn,  My  Name,  O,  Green  Grow  the  Rashes,  0,  etc. 

3.  The  Same.    London   (1787). 

4.  A  two  volume  edition  (Edinburgh  and  London,  1793).     Among  twenty 
new  pieces  were  Tarn  O'Shanter  and  On  Seeing  a  Wounded  Hare. 

5.  184  Songs  in  The  Scots  Musical  Museum  (1787-1803).    . 

6.  The  Jolly  Beggars  and  other  suppressed  poems  (Glasgow,  1799). 

7.  Songs  in  Select  Collection  of  Original  Scottish  Airs  (1801-02). 


OUTLINE  XLIX 
William  Wordsworth 

I.  LIFE.  Born,  Cockermouth,  Cumberland,  1770.  Hawkshead  Gramm 
School.  B.A.  St.  John's  College,  Cambridge,  1791.  Traveled  in  Franc 
1791-92.  Settled  with  his  sister  Dorothy  at  Racedown,  Dorsetshire,  175 
Intimacy  with  Coleridge,  1797.  Same  year,  removed  to  Alfoxden.  Ge 
many,  1798-99.  Settled  in  the  Lake  Country,  Dove  Cottage,  Townen 
Grasmere,  1799.  Marriage,  1802.  Rydal  Mount,  Windermere,  181 
Distributor  of  stamps  for  Westmoreland,  1813.  Pensioned,  1842.  PC 
Laureate,  1843.  Died,  1850. 

II.  CHIEF  PUBLICATIONS. 

1.  Descriptive  Sketches  (1792). 

2.  Lyrical  Ballads  (with  Coleridge,  1798). 

3.  Poems  (1807). 

4.  The  Excursion  (1814). 

5.  Collected  Edition  (6  vols.),  1836. 

6.  The  Prelude  (posthumous,  1850). 

7.  The  Recluse  (posthumous,  1888). 

III.  CLASSIFIED  EXAMPLES  OF  WORDSWORTH'S  POETRY.     (The  dates  are  the 
of  composition.) 

1.  Meditative  and  Didactic  Poems. 

a.  Tintern  Abbey  (1798). 

b.  Portions  of  Wordsworth's  projected  masterpiece. 
The  Prelude  (1799-1805). 

The  Recluse  (fragment,  1805). 
The  Excursion  (1813). 

2.  Pastorals. 

a.  Michael  (1800). 

b.  The  Ruined  Cottage  (1796?.     Incorporated  into  The  Excursion). 

3.  Odes. 

\   a.  Intimations  of  Immortality  (1803-06). 
b.  Ode  to  Ditty  (1805). 

4.  Characteristic  Lyrics  and  Ballads. 
*  a.  W 'e  are  Seven  (1798). 

b.  The  Solitary  Reaper  (1803). 
«c.  Yarrow  Unvisited  (1803). 
-d.  /  wandered  lonely  as  a  cloud  (1804). 

e.  To  a  Cuckoo  (1804). 

f.  The  Primrose  of  the  Rock  (1831). 

5.  Classical  Studies. 

a.  Laodamia  (1814)* 

b.  Dion  (1814). 

6.  Sonnets. 

a.  Personal  and  occasional. 

b.  Political  and  patriotic. 

IV.  WORDSWORTH'S  THEORY  OF  POETRY.     Fully  stated  in  his  preface  to  Lyric 
Ballads  (2nd  ed.,  1800). 


OUTLINE  L 
Samuel  Taylor  Coleridge 

I.  LIFE.  Born,  1772,  Ottery  St.  Mary,  Devonshire.  Christ's  Hospital, 
1782-90.  Enter  Jesus  College,  Cambridge,  1791.  London,  i793-_  Four 
months  with  Fifteenth  Light  Dragoons,  1793-94.  Met  Southey  at 
Oxford,  1794.  Pantisocracy.  Married  Sara  Fricker,  Bristol,  1795.  First 
volume  of  poems,  Bristol,  1796.  Lecturing.  The  Watchman.  Nether 
Stowey  and  Wordsworth,  1797.  Chief  poetic  period,  1797-1802.  Ger- 
many, 1798-99.  The  Morning  Post.  Greta  Hall,  Keswick,  1800.  The 
Kendal  Black  Drop,  1801.  Malta,  1804-06.  Opium  in  the  ascendant, 
1806-16.  Found  asylum  with  James  Gillman,  Highgate,  1816.  Death, 
1834- 

II.  POETRY.     Classified  Examples.     (The  dates  are  those  of  composition.) 

1.  Poems,  supernatural  or  mystical. 

a.  The  Ancient  Mariner  (1797). 

b.  Christabel  (1797,  1800). 

c.  Kubla  Khan  (1797). 

2.  Meditative  Poems. 

a.  In  Blank  Verse. 
Religions  Musings  (1794). 
Frost  at  Midnight  (1798). 

b.  Confessional  Pieces. 
Dejection,  an  Ode  (1802). 

To  William  Wordsworth  (1806?). 

c.  Political. 

Ode  to  the  Departing  Year  (1796). 
France,  an  Ode  (1798). 

d.  Sonnets  (chiefly  early). 

3.  Love  Poems. 

a.  Love  (1797-98). 

b.  Lewti,  or  the  Circassian  Love-Chant  (1797-98). 

4.  Dramas. 

\  a.  The  Fall  of  Robespierre  (with  Southey,  1794). 

\  b.  Wallenstein  (translated  from  Schiller,  1800). 

\          c.  Remorse  (acted,  1813). 

d.  Zapolya  (published,  1817). 

III.  PROSE.     (Dates  are  those  of  publication.) 

1.  Journalism. 

a.  The  Watchman  (1796). 

b.  The  Friend  (1809-10). 

c.  The  Morning  Post  (articles,  1799-1800). 

d.  The  Courier  (articles,  1811-12). 

2.  Lay  Sermons.     Political  and  Religious. 

a.  The  Statesman's  Manual  (1816). 

b.  Aids  to  Reflection  (1825). 

3.  Literary  Criticism. 

^ra.  Biographia  Literaria  (1817). 

N^b.  Shakspere,  etc.  (lectures,  1807-08,  1811-12,  1818). 

4.  Prose  Fantasy. 

The  Wanderings  of  Cain  (written,  1798) 

101 


OUTLINE  LI 
Scott  and  Romantic  Fiction 

I.  FORERUNNERS. 

1.  Horace  Walpole  (1717-1797),  The  Castle  of  Otranto  (1764). 

2.  Clara  Reeve  (1725-1803),  The  Old  English  Baron  (1777). 

3.  Anne  Radcliffe  (1764-1823),  The  Mysteries  of  Udolpho  (1794). 

4.  'Monk'  Lewis  (1775-1818),  Ambrosius,  or  The  Monk  (1795). 

II.  SIR  WALTER  SCOTT. 

1.  Life.     Born,  Edinburgh,  JL^JU,.    Educated  at  the  High  School  and  Col- 
lege.    Called  to  the  bar,  1792.     Contributed  to  Lewis's  Tales  of  Terror, 
1799.     Published  Border  Minstrelsy,  1802.     Sheriff  of  Selkirkshire,  1804. 
Moved  to  Ashestiel.     Removed  to  Abbotsford,  1814.     Period  of  poetical 
activity,  1805-13.     First  novel,  Waverley,  1814.     Created  baronet,  1820. 
Failure  of  the  Ballantynes,  1826.     Death,  1832. 

2.  Translations,  Critical  and  Antiquarian  Works  :     Translation  of  Goethe's 
-Goetz  von  Berlichingen    (1799)  {^Minstrelsy   of   the   Scottish   Border 

(1802)  ;  Edition  of  Dryden  (1808)  ;  Edition  of  Swift  (1814)  ;  Life  of 
Napoleon  (1827).  y 

3.  Poems:    -T\e  Lay  of  the  Last  Minstrel  (1805)  ;  Marmion  (1808)  ',The 
Lady  of  the  Lake  (1810)  ;  Don  Roderick  (1811)  ;  The  Bridal  of  Trier- 
wain  (1813)  ;  Rokeby  (1813)  ;  The  Lord  of  the  Isles  (1815)  ;  Harold, 
the  Dauntless  (1817). 

4.  Novels  in  Order  of  Publication,  with  Period  of  the  Action. 


/'Waverley   ........................  i3i4,  period  of  George  II. 

Guy  Mannering   ..................  1^15,  George  II  and  III. 

The  Antiquary   ...................  1816,  George  III. 

The  Black  Dwarf  .................  1816,  Anne. 

Old  Mortality  ....................  1816,  Charles   II   and  after. 

..-Rob  Roy    ...........  .  ............  1818,  George  I. 

'/The  Heart  of  Midlothian  ..........  1818,  George  II. 

,,-^The  Brife  of  Lammermoor  ........  1819,  William  III. 

A  Legend  of  Montrose  ............  1819,  Charles  I. 

Ivanhoe    .........................  1820,  Richard  I. 

The  Monastery    .........  .  ........  1820,  Elizabeth. 

The  Abbot  .............  ..........  1820,  Elizabeth. 

Kenilworth    ......................  1821,  Elizabeth. 

The  Pirate    ......  .  ...............  1822,   (c)  William  III. 

The  Fortunes  of  Nigel  ............  1822,  James  I. 

Peveril  of  the  Peak   .........  .....  1823,  Charles  II. 

Quentin  Durward  .................  1823,  Edward  IV. 

St.  Ronan's  Well  .................  1824,  George  III. 

Red  gauntlet   ...........  ...........  1824,  Early  George  III. 

The  Betrothed    ...................  1825,  Henry  II. 

•^The  Talisman  .............    ......  ^25,  Richard  I. 

Woodstock   ...................  ....  1826,  Commonwealth. 

The  Two  Drovers  ................  1827,  Early  George  III. 

The  Highland  Widow   ............  1827,  George  II. 

The  Surgeon's  Daughter  ..........  1827,  George  II  and  III. 

The  Fair  Maid  of  Perth  ............  1828,  Henry  IV. 

Anne  of  Geierstein  ...............  1829,  Edward  IV. 

Count  Robert  of  Paris  ............  1831,  William   Rufus. 

Castle  Dangerous   ................  1831,  Edward  I. 

103 


OUTLINE  LII 
Lord  Byron 

I.  LIFE.  George  Noel  Gordon,  fifth  Lord  Byron  of  Newstead,  born,  1788, 
Holies  Street,  London.  Succeeded  to  peerage  when  ten  years  of  age. 
Inherited  pride  and  sensitiveness  were  aggravated  in  boyhood -by  ill  dis- 
cipline on  the  part  of  his  mother,  and  by  lameness  and  poverty.  Harrow 
School.  Trinity  College,  Cambridge,  1805-08.  Traveled  in  Spain, 
Greece,  and  the  Levant,  1809-11.  Married,  1815.  Public  indignation  at 
his  separation  a  year  later  induced  him  to  leave  England  permanently. 
In  Switzerland,  met  and  associated  with  Shelley,  who  was  also  an  exile. 
Italy,  1816-23.  Venice,  1816-19.  Ravenna,  1819-21,  Pisa,  1821-22. 
Countess  Teresa  Guiccioli,  1819.  Renewed  intimacy  with  Shelley,  iSio/- 
22.  Organized  military  expedition  to  Greece,  1823.  Died  of  fever  at 
Missolonghi,  April  19,  1824. 

II.  CHIEF  POEMS  CLASSIFIED  BY  PERIODS. 

1.  Juvenile  Period   (1807-12). 
a.  Hours  of  Idleness  (1807). 

'b.  English  Bards  and  Scotch  Reviewers  (1809). 
c.  Childe  Harold  (Cantos  I  and  II,  1812). 

2.  Period  of  Metrical  Romances  (1813-16). 

a.  The  Giaour  (May,  1813). 

b.  The  Bride  of  Abydos  (*Dec.,  1813). 

c.  The  Corsair  (Jan.,  1814). 

d.  Lara  (Aug.,  1814). 

e.  Hebrew  Melodies   (1815). 

f.  The  Siege  of  Corinth  (Jan.,  1816). 

g.  Parisina  (Jan.,  1816). 

3.  Mature  Romantic  Period  (1816-18). 

/a.  Childe  Harold  (Canto  III,  1816;  Canto  IV,  1818). 
v  b.  The  Prisoner  of  Chillon  (1816). 

c.  The  Dream  (1816). 

d.  Stanzas  to  Augusta  (1816). 

e.  Manfred  (1817). 

f.  Lament  for  Tasso  (1817"). 

Satiric  and  Dramatic  Period  (1819-23). 

a.  Serio-comic  narrative. 

Bcppo  (i8i7>f  Do;*  Juan  (1819;  1821-23);  The  Island  (1822). 

b.  Satire. 

The  Vision  of  Judgment  (1821). 
The  Age  of  Bronze  (1822). 

c.  Tragic  drama. 

Marino  Faliero   (1820);  Sardanapalus   (1821);  The  Two  Foscarl 
(1821);  The  Deformed  Transformed  (1821). 

d.  Mysteries. 

Heaven  and  Earth  (1821)  ;  Cain  (1822). 

III.  PROSE. 

1.  Letters  and  Journals. 

2.  Controversial  Papers. 


105 


OUTLINE  LIII 
Percy  Bysshe  Shelley 

I.  LIFE.  Born,  Field  Place,  Sussex,  1792.  Eton,  1804-10.  Entered  Uni- 
versity College,  Oxford,  April,  1810.  Expelled,  March,  i8iL  jvtarried 
to  Harriet  Westbrook,  at  Edinburgh,  August,  same  year.  Met  Southey. 
Opened  correspondence  with  William  Godwin.  Brief  visit  to  Ireland,, 
Wales,  1812-13.  Estrangement  from  Harriet.  Separation,  May,  1814. 
Flight  to  France,  with  Mary  Godwin,  July,  same  year.  With  Byron  in 
Switzerland,  1816.  Suicide  of  Harriet,  1816.  Harriet's  children  removed 
from  his  authority  by  judgment  in  Chancery,  1817.  Final  farewell  to 
England,  1818.  Italy,  1818-22.  Naples  and  Venice,  1818-19;  Rome, 
1819-20;  Pisa,  1820-22.  Drowned  in  the  Bay  of  Lerici,  July  8,  1822. 

II.  CLASSIFIED  EXAMPLES  OF  SHELLEY'S  POETRY.     (The  dates  are  those  of 
composition.) 

1.  Early  Poems  (1813-17). 

a.  Queen  Mab  (1813). 

b.  Alastor  (1815). 

c.  The  Revolt  of  Islam  (1817). 

2.  Lyrical  Dramas  of  Philosophical  Intent. 

a.  Prometheus  Unbound  (1819). 

b.  Hellas  (1821). 

3.  Drama. 

a.  The  Cenci  (1819). 

b.  Charles  the  First  (1822),  fragment. 

4.  Satire. 

a.  Peter  Bell  the  Third  (1819). 

b.  Swellfoot  the  Tyrant  (1820). 

5.  Lyrics.    Hymn  to  Intellectual  Beauty  (1816)  ;  Ode  to  the  West  Wind 
(1819);  Ode  to  Liberty   (1820);   The  Sensitive  Plant   (1820);  The 
Cloud  (1820)  ;  To  a  Skylark  (1820)  ;  To  Night  (1821)  ;  Triumph  of 
Life  (1822),  unfinished. 

6.  Poems  Inspired  by  Persons. 

a.  Julian  and  Maddalo  (1818,  Byron). 

b.  Letter  to  Maria  Gisborne  (1820). 

r    F'T'tTrrfriV/fdffr  (Tfl7T,  Fmilia  Viviani)- 


, 

d.  Adpnais  (1821,  Keats). 

e.  With  a  Guitar  ,  to  Jane  (1822,  Mrs.  Williams). 

III.  PROSE.     (The  dates  are  those  of  publication). 

1.  Romances. 

a.  Zastrozzi  (1810). 

b.  St.  Irvyne;  or  the  Rosicrucian  (1811). 

2.  Tracts. 

a.  An  Address  to  the  Irish  People  (1812). 

b.  A  Refutation  of  Deism  (1814). 

3.  Essays. 

A  Defense  of  Poesy  (1840). 

4.  Letters  (1840,  1845,  I^5O,  etc.). 


107 


OUTLINE  LIV 

John  Keats 

I.  LIFE.  Born,  London,  1795,  at  the  Swan  arid  Hoop  stables  in  Moorfields 
Attended  a  good  school  at  Enfield  and  became  intimate  with  Charles  Cow 
den  Clarke,  son  of  the  master.  Apprenticed  to  a  surgeon,  1810  ~  Studiec 
surgery  in  London  hospitals,  1814-17.  Performed  a  few  operations  anc 
abandoned  surgery  for  literature.  First  appearance  in  print  a  sonnet  ir 
Leigh  Hunt's  Examiner,  May,  1816.  Through  Hunt  met  Shelley,  Haydoi 
the  painter,  and  later,  Wordsworth.  Settled,  1817,  with  his  brothers  ir 
Hampstead.  Health  began  to  fail.  Made  numerous  short  tours.  Nursec 
his  brother  Tom  through  last  illness,  autumn  of  1818.  Engagement  t( 
Fanny  Brawne,  1819.  Suffered  first  hemorrhage,  Feb.  3,  1820.  Sailec 
with  Joseph  Severn  for  Italy,  September,  1820.  Died,  Rome,  Feb.  23,  1821 
aged  25  years,  4  months. 

II.  CHIEF  POEMS. 

1.  Poems  by  John  Keats  (1817).     Shelley  assisted  in  preparing  this  vol 
ume  for  the  press.     Among  the  contents  were  Imitation  of  Spenser  (w 
1812  or  1813)  ;  Sleep  and  Poetry  (pronounced  by  Hunt  the  best  poem  ii 
the  volume)  ;  On  first  looking  into  Chapman's  Homer  (w.  1815;  printec 
in  Hunt's  Examiner,  Dec.,  1816). 

2.  Endymion  (1818). 

Written  summer  of  1817.     Sneeringly  reviewed  in  Black  wood's  Maga- 
zine and  Quarterly  Review. 

3.  Lamia,  Isabella,  The  Eve  of  St.  Agnes,  and  Other  Poems    (1820) 
Praised  in  Edinburgh  Review. 

Besides  pieces  named  in  the  title  contained : 
^  Ode  to  a  Nightingale. 
-  Ode  on  a  Grecian  Urn. 

Ode  to  Psyche. 

Fancy. 

Ode  ('Bards  of  passion'). 

Lines  on  the  Mermaid  Tavern. 

Robin  Hood. 

To  Autumn. 

Ode  on  Melancholy. 

Hyperion. 

4.  Posthumous  and  Fugitive  Poems. 

a.  On  Seeing  the  Elgin  Marbles  (w.  1817). 

b.  Stanzas  ('In  a  drear-nighted  December';  w.  1818). 

c.  La  Belle  Dame  Sans  Merci  (w.  1819). 

d..  Last  Poem^    (^Bright-Star,  would  I  were  stgadfastjia^thou  art  ' ;  w 
*  Sept. 71820) 


iog 


OUTLINE  LV 
Southey  and  Landor 

I.  ROBERT  SOUTHEY. 

1.  Life.     Born,   Bristol,    1774.     Early   given   to    reading   an<l  versifying 
1778-92,   Westminster  School.     1792-94,   Balliol   College,   Oxford.     Ir 
1/94  met  Coleridge,  who  assisted  in  forming  the  socialistic  scheme  callec 
'  pantisocracy.'     1795-96,  1800,  visits  to  Lisbon  gave  impetus  to  mucl 
future  writing.     Wrote  extensively  for  Morning  Post.     1803,  settled  a 
Greta  Hall,  Keswick,  where  he  wrote  his  most  important  works.     As 
sisted  by  an  annuity  from  his  friend  Wynn.     1807,  government  pension 
of  160  pounds.     1813,  Poet  Laureate.     1809-39,  contributed  extensivel] 
to  Quarterly  Review.     1820,  degree  D.C.L.,  Oxford.     Southey's  mine 
weakened  some  time  before  his  death  in  1843. 

2.  Works. 

a.  Poetry. 

Joan  of  Arc  (1796). 

Thalaba  the  Destroyer  (1801). 

Madoc  (1805). 

Curse  of  Kehama  (1810). 

Roderick,  the  Last  of  the  Goths  (1814). 

Vision  of  Judgment  (1821). 

b.  Prose. 

History  of  Brazil  (1810-19). 

Life  of  Nelson  (1813). 

Life  of  Wesley  (1820). 

History  of  the  Peninsular  War  (1823-32). 

The  Doctor  (1834-37), 

Translations. 

Amadis  of  Gaul  (1803)  ;  Palmerin  of  England  (1807)  ;  Cid  (1808) 

WALTER  SAVAGE  LANDOR. 

1.  Life.     Born,  1775;  son  of  a  physician.     At  Rugby  distinguished  for  ba< 
temper.     1793,    entered    Trinity    College,     Oxford;     1794,    rusticated 
Wrote  in  retirement  in  Wales.     1808,  joined  a  military  expedition  t< 
Spain.     1815-35,   lived    in    Italy.     Quarrels   with   his   wife.     1835,    re 
turned  to  England;  1838-57,  resided  at  Bath;  quarrels,  scandal,  and  ; 
law-suit.     Mind  weakened.     1857,  returned  to  Italy.     Died,  Florence 
1864. 

2.  Works. 

a.  Chief  poems. 
<  Gebir  (1798). 

Count  Julian,  a  Tragedy  (1812). 
Numerous  poems  in  Latin. 

b.  Prose. 

Imaginary  Conversations  (1824,   1828,   1829.     Additional  Conversa 

tions  in  1846,  1853). 

Citation  and  Examination  of  William  Shakespeare  (1834). 

Pericles  and  Aspasia  (1836), 

Pentameron  (1837). 

Last  Fruit  off  an  Old  Tree  (1853). 


in 


OUTLINE  LVI 

Early  Nineteenth  Century  Essayists 

t 
I.  CHARLES  LAMB. 

i.  Life.  Born,  London,  1775.  1782-89,  in  school  at  Christ's  Hospital 
where  he  formed  a  lasting  friendship  with  Coleridge.  Humble  clerk 
ship  in  South  Sea  House  released,  in  1792,  for  a  clerksliip~in  Indi; 
House,  which  he  held  until  he  retired  on  a  pension  in  1825.  Died 

1834- 
2^Chief  Writings. 

a.  Tales  from  Shakespeare  (1807).     Mostly  by  Lamb's  sister,  Mary 
Lamb  contributed  tragedies. 

b.  Specimens  of  the  English  Dramatic  Poets  (1808). 
'c.  Essays  of  Ella  (1823). 

d.  Last  Essays  of  Elia  (1833). 

II.  WILLIAM  HAZLITT. 

1.  Life.     Born,    Maidstone,    1778;    son   of   a   Unitarian   minister.     1798 
stimulated  by  meeting  Coleridge.     1802,  worked  at  painting,  in  Paris 
1803,  began  literary  career  with  essay  Principles  of  Human  Action 
1812,  settled  in  London ;  regular  work  for  the  press.     Essays  and  lee 
tures  published  and  delivered  in  various  places  and  forms  during  las 
twenty  years  of  his  life.     Died  1830. 

2.  Chief  Writings. 

^Principles  of  Human  Action  (1803);  Characters  of  Shakespeare' 
Plays  (18177;  Lectures  on  the  English  Poets  (1818)  ;  Lectures  on  th 
English  Comic  Writers  (1819)  ;  Lectures  on  the  Dramatic  Literatur 
of  the  Reign  of  Elisabeth  (1821)  ;  The  Spirit  of  the  Age  (1825)  ;  Th 
Plain  Speaker  (1826). 

III.  THOMAS  DE  QUINCEY. 

1.  Life.     Born,  Manchester,  1785;  son  of  a  merchant.     1803,  went  to  Ox 
ford,  where  he  neglected  studies,  and  began  to  take  opium.     Lived  ii 
Lake  District.     Knew  Wordsworth,  Coleridge,  and  Southey.     Move* 
to   London.     Contributed   to   periodicals:     London  Magazine,   Black 
wood's,  and  Tait's  Edinburgh  Magazine.     1828,  moved  to  Edinburgh 
Died,  Edinburgh,  1859. 

2.  Chief  Writings. 

i.  a.  Confessions  of  an  English  Opium  Eater  (1821). 

b.  Murder  as  One  of  the  Fine  Arts  (1827). 

c.  Klosterheim  (1832). 

d.  Logic  of  Political  Economy  (1844). 

IV.  LEIGH  HUNT. 

1.  Life.     Born,    London,    1784.     Educated    at    Christ's    Hospital.     1808 
joined  his  brother  in  establishing  a  newspaper,   The  Examiner,  an< 
jived  by  literature  the  rest  of  his  life.     1813-15,  imprisoned  for  libel 
ing  the  Prince  Regent.     In  prison,  he  wrote  his  principal  poem,  Th 
Story  of  Rimini.     1822-23,  with  Byron  in  Italy  edited  a  quarterly,  Th 
Liberal.     Contributed  voluminously  to  periodicals.     1847,   pension   o 
200  pounds  from  the  Crown.     Died,  1859. 

2.  Clref  Writings.     Prose :     Lord  Byron  and  Some  of  his  Conternporarie 
(1828)  r  Imagination   and  Fancy    (1844)^   Wit  and  Humor    (1846) 
Men,  Women,  and  Books  (1847)  '  A  Jar  of  Honey  from  Mount  HybL 

:  Autobiography  (1850).     Poetry:     Story  of  Rimini  (1816). 


OUTLINE  LVII 
Thomas  Carlyle 

I.  LIFE.  Born  at  Ecclefechan,  Dumfriesshire,  Scotland,  1795.  Annan  Acad- 
emy, 1805.  University  of  Edinburgh,  1809.  Teacher  at  Annan,  1814. 
Kirkcaldy,  1816.  Read  law,  1819.  Tutor  to  Charles  Duller,  1822^4.,  Lon- 
don Magazine,  1823-4.  Married  to  Jane  Welsh,  1826.  Contributed  to 
Edinburgh  Review,  1827-32.  Craigenputtock,  1828-1834.  Resided  in  Lon- 
don at  Cheyne  Row,  Chelsea,  from  1834.  Manuscript  of  French  Revolu- 
tion destroyed  by  fire,  1835.  Public  lectures,  London,  1837-1840.  Trav- 
eled in  Germany,  1852  and  1858.  Occupied  with  his  '  Frederick,'  1851-65. 
Elected  Rector  of  Edinburgh  University,  1865.  Death  of  Jane  Welsh 
Carlyle,  1866.  Received  Prussian  order  of  merit,  1874.  Refused  to  ac- 
cept pension,  1874.  Died,  1881. 

II.  Works. 

1.  Translations. 

a.  Wilhelm  Meister  (1824). 

b.  German  Romance,  4  vols.  (1827). 

2.  Literary  and  Biographical  Essays. 

a.  /.  P.  F.  Richter  (Edinburgh  Review,  1827). 

b.  State  of  German  Literature  (Edinburgh  Review,  1827). 

c.  Burns  (Edinburgh  Review,  1828). 

d.  Voltaire  (Foreign  Review,  1829). 

e.  Croker's  Boswell's  Johnson   (Eraser's  Magazine,  1832). 

3.  Biography. 

a.  Life  of  Schiller  (London  Magazine,  1820-24). 

b.  Life  and  Letters  of  Oliver  Cromwell  (1845). 

c.  Life  of  John  Sterling  (1851). 

4.  History. 

a.  The  French  Reynlutinn  (1837). 

b.  History  of  Friedrich  II,  Vols.  I  &  II    (1858);  Vol.   Ill    (1862); 
Vol.  IV  (1864)  ;  Vols.  V  &  VI  (1865). 

5.  Distinctive  philosophical  and  social  prophecy. 

a.  Signs  of  the  Times  (Edinburgh  Review,  1829). 

b.  Characteristics  (Edinburgh  Review,  1831). 

•c.  Sartor  Resartus   (Fraser's  Magazine   1833-34)  ;   American  Edition 
(1835);  English  Edition  (1838). 

d.  Chartism-  (1839). 

e.  Heroes  and  Hero-Worship   (1841). 
^f.  Past  and  Present  (1843). 

g.  Latter  Day  Pamphlets\i8$o). 


"5 


OUTLINE  LVIII 
Thomas  Babington  Macaulay 

I.  LIFE.  Born,  Rothley  Temple,  Leicestershire,  Oct.  25,  1800;  son  of  a 
merchant  and  philanthropist.  Desire  for  knowledge  and  tenacity  of  mem- 
ory conspicuous  in  infancy.  At  age  of  seven  wrote  a  compendium  of 
universal  history  and  three  cantos  of  a  long  poem.  1818,  went  to~Trinity 
College,  Cambridge ;  won  several  prizes  in  literature ;  in  1824  became  a 
fellow.  1826,  began  an  indifferent  practice  of  law.  1825-45,  a  prolific 
contributor  to  the  Edinburgh  Review.  1830,  entered  Parliament.  1834- 
38,  in  India  as  legal  adviser  to  the  Supreme  Council  of  India.  1839,  again 
in  Parliament;  1840,  Secretary  for  War;  1846,  Paymaster-general  of  the 
Forces.  1845-60,  engaged  on  his  History  of  England,  and  in  contributing 
articles  to  Encyclopedia  Britannica.  1857,  raised  to  peerage  as  Baron 
Macaulay  of  Rothley.  Honored  by  English  and  Continental  learned  So- 
cieties. Died,  Dec.  28,  1859.  Buried  in  Poets'  Corner,  Westminster 
Abbey. 

II.  WORKS. 

1.  Essays:  classified  examples.     All  the  essays  below  were  contributed  to 
the  Edinburgh  Review. 

a.  English   history. 
Hallam  (Sept.,  1828). 

John  Hampden  (Dec.,  1831). 

Burleigh  and  His  Times  (April,  1832). 

Horace  Walpole  (Oct.,  1833). 

William  Pitt,  Earl  of  Chatham  (Jan.,  1834). 

Lord  Clive  (Jan.,  1840). 

Warren  Hastings  (Oct.,  1841). 

b.  Foreign  History. 
Machiavelli  (Mar.,  1827). 
Mirabeau  (July,  1832). 
Von  Ranke  (Oct.,  1840). 
Frederic  the  Great  (April,  1842). 

c.  Controversial. 

Mill  on  Government  (Mar.,  1829). 
Southey's  Colloquies  (Jan.,  1830). 
Saddler's  Law  of  Population  (July,  1830). 
Gladstone  on  Church  and  State  (April,  1839). 

d.  Literary  criticism  and  miscellaneous. 
/'Milton  (Aug.,  1825). 

John  Dryden  (Jan.,  1828). 

Moore's  Life  of  Byron  (June,  1830). 

John  Bunyan  (Dec.,  1830). 

Samuel  Johnson  (Sept.,  1831). 

Lord  Bacon  (July,  1837). 

Leigh  Hunt  (Jan.,  1841). 

Life  and  Writings  of  Addison  (July,  1843). 

2.  History  of  England  from  the  Accession  of  James  II.     (Vols.   I  and 
II,  1848;  Vols.  Ill  and  IV,  1855;  Vol.  V,  1861.) 

3.  Verse. 

S*.  Lays  of  Ancient  Rome  (1842). 
b.  Ivry  and  the  Armada  (1848). 


OUTLINE  LIX 
John  Henry  Newman 

i.  LIFE.  Born  1801,  in  City  of  London.  Trinity  College,  Oxford,  18] 
Scholarship,  1818.  B.A.,  1820.  Fellow  of  Oriel,  1822.  Vicar  of  i 
Mary's,  1828.  University  Sermons  produced  strong  impression.  Visit 
Italy,  1832.  On  his  return  his  sermons  at  St.  Mary's  and  the  Tracts  f 
the  Times  began  the  Oxford  Movement.  Movement  joined  by  Fuse 
1835.  Tract  XC,  1841,  stating  position  of  the  high  church  party  on  t 
thirty-nine  articles,  aroused  violent  opposition.  Went  into  retirement 
Littlemore,  1842.  Resigned  St.  Mary's,  1843.  After  three  years 
prayer  and  fasting,  joined  Roman  Church,  1845.  Ordained  priest,  i8z 
Rector  of  Dublin  University,  1854-8.  Controversy  with  Charles  King 
ley,  1864.  Created  Cardina-1,  1879.  Died,  1890. 

II.  PROSE  WORKS. 
T.  History. 

a.  The  Arians  of  the  Fourth  Century  (1833). 

b.  The  Church  of  the  Fathers  (in  the  British  Magazine,  1833-35). 

2.  Fiction. 

a.  Loss  and  Gain  (1848). 

b.  Callista  (1852). 

3.  Doctrine. 

a.  Tracts  for  the  Times  (1833-41).     Twenty-nine  of  these,  includii 
Tracts  I  and  XC,  were  by  Newman. 

b.  The  Prophetical  Office  of  the  Church  (1837).     Re-issued  with  ref 
tations  under  title,  The  Via  Media  (1877). 

c.  Lectures  on  Justification  (1838).    • 

d.  On  Ecclesiastical  Miracles  (1842). 

e.  The  Development  of  Christian  Doctrine  (1846). 

f.  Grammar  of  Assent   (1870). 

4.  Education. 

^^~The  Idea  of  a  University  (1852). 

5.  Controversy. 

a.  The  Present  Position  of  Catholics  (1851). 

b.  Apologia  pro  Vita  Sua  (1864). 

6.  Devotion.     (Newman's  poems  and  a  large  number  of  his  sermons  ha' 
this  character.) 

Prayers  and  Meditations  (1893). 

III.  POEMS. 

T.  Lyra    Apostolica     (Contributed    by    Newman,    John    Keble,    Hum 
Froude,  Isaac  Williams,  and  others  to  the  British  Magazine,  1833-3 
Collected,  1836.     Re-issued,  1879). 
2.  Other  Publications. 

a.  Verses  on  Various  Occasions  (1834,  l 

b.  Verses  on  Religious  Subjects  (1853). 

c.  The  Dream  of  Gerontius  (1866). 


OUTLINE  LX 

Alfred  Tennyson 

I.  LIFE.  Born  at  Somersby  Rectory,  Lincolnshire,  1809.  Louth  Grammar 
School.  Entered  Irinity  College,  Cambridge,  1828.  Won  Newdigate 
prize  with  the  poem  Timbnctoo,  1829.  Traveled  with  Arthur  Hallam  in 
the  Pyrenees,  and  on  the  Rhine  in  1832.  Death  of  Hallam,  1833.  Period 
of  solitude  and  work,  1833-42.  Pensioned,  1845.  Succeeded  Wordsworth 
as  Poet  Laureate,  1850.  Married,  1850.  Bought  Farringford,  Isle  of 
Wight,  1853.  D.C.L.  Oxford,  1855.  Honorary  Fellow,  Trinity,  Camb., 
1859.  Began  new  home  at  Aldworth,  near  Haslemere,  1868.  Raised  to 
peerage,  1^84.  Died,  1892. 

II.  CHIEF  PUBLICATIONS. 


Poems. 
a.  Poems 


Brohers 


IS  P!_JL 

b.  Poems'  Chiefly  Lyrical  (1^30).    Among  the  contents  of  this  volume 
were,  Claribel,  Lilian,  Isabel,  Maricna,  Recollections  of  the  Arabian 
Nights,  Ode  to  Memory,  and  The  Poet. 

c.  Poems  (1832-33).     Included  Th e  Lady  of  Shah tj,  Mariana  in  the 
South,  The  Miller's  Daughter,  Oenone,  The  Sisters,  The  Palace  of 
Art,  The  May  Queen,  The  Lotos  Eaters,  A  Dream  of  Fair  Women, 
etc. 

.d.  Poems  (2  vols.,  1842,).  Volume  I  consisted  of  poems  from  the  pre- 
ceding collections,  many  of  them  greatly  altered  and  improved.  In 
the  second  volume  first  appeared  Aforte  d' Arthur,  Dora,  The  Gar- 
dener's Daughter,  The  Talking  Ock^Love  and  Duty,  Ulysses,  Lochs- 
ley  HalL  Godiva,  The  Two  Voices,  Sir  Galahad,  The  Vision  of  Sin, 
'  Break,  break,  breakj  etc. 

e.  The   Princess    (1847).     Intercalary   songs   added   to   third   edition 
(1850). 

f.  In  Memoriam  (1850). 

g.  Maud  and  Other  Poems  (1855). 

h.  Idylls  of  the  King.  (1859,  Enid,  Vivien,  Elaine,  Guinevere)  ;  (1869, 
The  Coming  of  Arthur,  The  Holy  Grail,  Pellcas  and  Etarre,  The 
Passing  of  Arthur}  ;  (1871,  The  Last  Tournament}  ;  (1872,  Gareth 
and  Lynette)  ;  (1885,  Balin  and  Balan). 

i.   Enoch  Arden  (1864). 

j.  Ballads  and  Other  Poems  (1880). 

k.  Tiresias  and  Other  Poems  (1885). 

1.    Locksley  Hell  Sixty  Years  After  (1886). 

m.Demeter  and  Other  Poems  (1889). 
2.  Plavs:     Queen  Mary  (1875);  Harold  (1876);  The  Cup  (1884);  The 

Falcon  (1884)  ;  Becket  (1884)  ;  The  Promise  of  May  (1886)  ;  The  For- 
esters (1892). 


121 


OUTLINE  LXI 
Robert  Browning 

I.  LIFE.  Born,  Camberwell  near  London,  1812.  Education,  mostly  private, 
included  besides  literature,  '  music,  singing,  dancing,  riding,  boxing,  and 
fencing/  Studied  Greek  at  London  University,  1829-30.  In  i834,jvisited 
Russia  and  Italy.  Attention  of  Wordsworth,  Carlyle  and  other  men  of 
letters  favorably  attracted  by  Paracelsus,  1835.  Macready  produced  Straf- 
ford,  1837,  and  A  Blot  in  the  'Scutcheon,  1843.  Visited  Italy,  1838.  Mar- 
ried Elizabeth  Barrett,  1846.  Resided  chiefly  in  Italy  until  her  death,  1861. 
Chief  residence,  London,  1861-88.  Italian  visits,  1878,  1888.  Died,  Ven- 
ice, 1889. 

II.  CHIEF  PUBLICATIONS. 

1.  Early  Poems:    Pauline  (1833);  Paracelsus  (1835);  Sordello   (1840). 

2.  Dramas  (except  the  first  and  last,  printed  in  a  series  entitled  Bells  and 
Pomegranates,    1841-46):    Straff  ord    (1837);    Pippa   Passes    (i8d.iV. 
King  Victor  and  King  Charles   (1842);   The  Return  of  the  Druses 
(1843)  5  A  Blot  in  the  'Scutcheon  (1843)  \  Colombe's  Birthday  (1844)  ; 
Luna  (1846)  ;  A  Soul's  Tragedy  (1846)  ;  In  a  Balcony  (1853). 

3.  Collections  of  Lyrics,  Dramatic  Monologues,  etc. 

a.  Dramatic  Lyrics  (III  of  Bells  and  Pomegranates,  1842). 

b.  Dramatic  Romances  and  Lyrics  (VII  of  Bells  and  Pomegranates, 

1845). 

c.  Men  and  Women  (i8=;O.     Included  Pictor  Ignotus,  Fra  Lippo  Lippi,> 
^-Andrea  del  Sarto,  The+Bishop  Orders  his  Tomb,  Bishop  Blougram's 

Apology,  etc. 

d.  Dramatis  Persona  ('1864').     Included  James  Lee's  Wife,  Abt  Vogler, 
sRabbi  ben  Ezra,  Mr.  Sludge  the  Medium,  A  Death  in  the  Desert, 

Caliban  upon  Setebos,  etc. 

e.  Pacchiarotto  and  Other  Poems  (1876). 

f.  Dramatic  Idylls  (1879  and  1880). 

g.  Jocoseria  (1883). 

h.  Ferishtah's  Fancies  (1884). 

i.   Parleyings  with  Certain  People  of  Importance  in  Their  Day  (1887). 


.  Asolando 
RelTgious^Poems: 


Christmas  Eve  and  Easter  Day  (1850)  ;  La  Saisiaz 
(1878). 

5.  Novelistic  Poems  and  Extended  Monologues. 

a.  The  Ring  and  the  Book  (1868-60).    An  Italian  murder  case  retold 
from  twelve  poTnts~"oF  view. 

b.  Prince  Hohenstiel-Schivangau  (1871). 

c.  Fifine  at  the  Fair  (1872). 

d.  Red  Cotton  Night  Cap  Country  (1873). 

e.  The  Inn  Album  (1875). 

6.  Adaptations  from  the  Greek. 

a.  Balaustion's    Adventure,    including    a    Transcript    from    Euripides 
'  (1871). 

b.  Aristophanes'  Apology,  including  a  Transcript  from  Euripides,  Being 
The  Last  Adventure  of  Balaustion  (1875). 

c.  Agamemnon  (translation  from  ^Eschylus,  1877). 


123 


OUTLINE  LXII 


Early  Nineteenth  Century  Novel  (exclusive  of  Scott) 

I.  THE  NOVEL,  the  dominant  form  of  literature  in  the  nineteenth  century 
surpasses  other  forms  in  abundance,  and  at  least  equals  them  in  originalit) 
and  significance.  With  the  exception  of  Scott  (Outline  Limits  prevail- 
ing tone  was  realistic  rather  than  romantic,  and  it  treated  contemporary 
events  rather  than  those  of  the  distant  past. 

,11.  JANE  AUSTEN  (1775-1817). 

1.  Life.    Youngest  of   seven  children.     Excellently   educated   in   youth 
Lived  a  placid  life  in  increasing  ill-health  at  Bath  and  Southampton 
She  invests  the  commonplace  details  of  domestic  life  with  the  charn 
of  an  easy  humor. 

2.  Novels. 

a.  Sense  and  Sensibility  (1811). 

b.  Pride  and  Prejudice  (1813). 

c.  Mansfield  Park  (1814). 

d.  Emma  (1816). 

e.  Northanger  Abbey  (written,  1798;  pub.,  1817). 

f.  Persuasion  (1818). 

III.  CHARLES  DICKENS  (1812-1870). 

1.  Life.     Early  life  spent  in  poverty.     His  own  youthful  story  closel) 
suggested  in  David  Copperfield.     Achieved  success  in  fiction  at  age  o: 
24.    The  most  popular  English  novelist.     The  zeal  of  the  social  re 
former  combined  with  abounding  humor  and  sentiment. 

2.  Novels. 

a.  Oliver  Twist  (1837-38). 

b.  Nicholas  Nickleby  (1838-39). 

c.  Barnaby  Rudge  (1841). 

d.  Dombey  and  Son  (1846-48). 

e.  David  Copperfield  (1849-50). 

f.  Bleak  House  (1852-53). 

g.  A  Tale  of  Two  Cities  (1859). 

IV.  WILLIAM  MAKEPEACE  THACKERAY  (1811-1863). 

1.  Life.     Born  in  India;  educated  at  Cambridge.     Studied  drawing  anc 
law.     For  many  years  a  random  contributor  to  Eraser's  and  Punch 
Reputation  established  upon  publication  of  Vanity  Fair.    A  keen  ob- 
server and  sympathetic  though  satirical  interpreter. 

2.  Novels. 

a.  Barry  Lyndon  (1844). 
-'b.  Vanity  Fair  (1847-48). 

c.  Pendennis  (1849-50). 

d.  Henry  Esmond  (1852). 

e.  The  Newcomes  (1854-55). 

V.  OTHER  SIGNIFICANT  NOVELISTS. 

1.  Edward  Bulwer-Lytton  :     Rienzi  (1835).     The  Ca.rtons  (1848-9).  £ 

2.  Benjamin  Disraeli:     Coningsby  (1844). 

3.  Charlotte  Bronte:    Lme_Eyre  (1847). 

4.  Emily  Bronte:     Wuthenng  Heights  (1847). 

5.  Elizabeth   Gaskell:     Mary  Barton   (1848);   Cranford   (1853). 

6.  Charles  Kingsley:    Alton  Locke  (1849)  ;  Westward  JIo  (1855). 

125  >s 


OUTLINE  LXIII 
Later  Nineteenth  Century  Novel 

I.  THE  NOVEL  AT  THE  END  OF  THE  CENTURY  was  marked  by  an  almost  coi 
plete  subsidence  of  the  romantic  impulse,  and  by  an  emphasis  of  ethic 
psychological,  and  social  problems. 

II.  GEORGE  ELIOT  (pen  name  for  Mary  Ann  Evans), 

1.  L':fe.     Born,  1819.     The  inaugurator  of  a  new  movement  in  Engli 
Novel.     Early  youth   reflected  in  Adam  Bede  and  The  Mill  on  t 
Floss.     First  interests  were  in  German  philosophy  and  theology.     A 
sistant  editor  of  the  Westminster  Magazine.     She  portrays  the  inn 
lives  of  thoughtful  people.     Died,  1874. 

2.  Novels. 

a.  Adam  Bede  (1859). 

b.  The  Mill  on  the  Floss  (1860). 

c.  Silas  Marncr  (1861). 

d.  Romola  (1863). 

e.  Felix  Holt,  the  Radical  (1866). 

f.  Middlemarch  ( 187 1-2) . 

g.  Daniel  Deronda  (1876). 

III.  ANTHONY  TROLLOPE  (1815-1882).    Through  life  had  a  post  in  Briti 
Post-Office.     Wrote  about  fifty  novels,  of  which  the  best  are  the  Be 
Chester  series.     His  art  displays  health,  shrewdness,  and  extraordina 
mechanical  knack.     Representative  novels.     The  Warden  (1855);  Be 
Chester  Towers  (1857) ;  Framley  Parsonage  (1861) ;  The  Last  Chroni( 
of  Bar  set  (1867). 

IV.  ROBERT  Louis  STEVENSON  ( 1850-1894) .    An  indefatigable  student  of  1 
erary  models,  and  the  best  representative  of  the  free  romantic  methc 
Chief  novels:     Treasure  Island  (1883)  ;  Kidnapped  (1886)  ;  The  Mast 
of  Ballantrae  (1889). 

V.  GEORGE  MEREDITH  (1828-1909).  The  exponent  of  the  comic  spirit  as 
theory  of  art.  Chief  novels:  The  Ordeal  of  Richard  Feverel  (1859 
The  Adventures  of  Harry  Richmond  (1871);  Beauchamp's  Care 
(1875);  The  Egoist  (1879);  Diana  of  the  Crossways  (1885);  T, 
Amazing  Marriage  (1895).  ^\,% 

VI.  THOMAS  HARDY  (born,  1840)'  The  portrayer  of  Wessex  peasant  li: 
A  Pair  of  Blue  Eyes  (1873)  ;  Far  from  the  Madding  Crowd  (1874 
The  Return  of  the  Native  (1878)  ;  Te&s  of  the  Durbervttles  (1891)  ;  /M 
the  Obscure  (1895). 

VII.  OTHER  NOVELISTS  are  Charles  Reade  (1814-1884),  Henry  James  (184 

. — )t  William  Dean  Howells  (1837 ).     Among  short  story  writers  a 

Bret  Harte  (1839-1902)  and  Rudyard  Kipling  (1865 ). 


OUTLINE  LXIV 

John  Ruskin 

I.  LIFE.  Born,  London,  1819,  of  Scotch  parents.  Extraordinarily  prec 
clous.  Wrote  poetry  at  seven;  began  publishing  articles,  at  fiftee 
Early  study  various  and  enthusiastic,  but  desultory.  Christ-Church,  O 
ford,  1837.  Won  Newdigate  Prize.  B.A.,  1842.  Traveled  much  in  t 
Alps  and  Italy,  studying  nature  and  art.  Chief  residences,  Herne  Hi 
1823-43;  Denmark  Hill,  1843-72;  Brantwood,  1872-1900.  Married,  i& 
First  appearance  as  lecturer,  Edinburgh,  1853.  Took  charge  of  drawi: 
classes  at  Working  Men's  College,  1854-58.  Inherited  from  his  fath< 
1864,  JS/J000  pounds,  practically  all  of  which  was  eventually  spent 
gifts  and  social  experiments.  Helped  found  St.  George's  Company,  18; 
Slade  professor  of  Art  at  Oxford,  1870-79,  and  1883-4,  publishing  eig 
volumes  of  lectures.  Attacks  of  brain  fever  in  and  after  1878.  Aft 
1879,  lived  in  retirement  at  Brantwood,  in  the  English  Lake  Counti 
Died,  January,  1900. 

II.  WORKS. 

1.  Primarily  /Esthetic. 

„  a.  Modern  Painters,  Vol.  I  (1843)  ;  Vol.  II  (1846)  ;  Vols.  Ill  and  1 

(1856);  Vol.  V  (1860). 
.-b.  Seven   Lamps   of   Architecture    (1849):     Sacrifice,    Truth,    Pow< 

Beauty,  Life,  Memory,  Obedience. 

c.  Pre-Raphaelitism  (1851). 

d.  $tonesj>f  Venice.  Vol.  I  (1851)  ;  Vols.  II  and  III  (1853).     Vol.  ] 
Chap.  6,  On  the  Nature  of  Gothic,  reprinted  by  Furnivall  for  t 
Working  Men's  College  (1854)  ;  reprinted  by  William  Morris  (1892 

2.  Primarily  Ethical. 

a.  Notes  on  the  Construction  of  Sheep  folds  (1851). 

b.  Lectures  on  the  Political  Economy  of  Art  (1857). 

c.  Four  essays  on  the  first  principles  of  Political  Economy   (Cornh 
Magazine,  1860)  ;  reprinted  as  Unto  this  Last  (1862). 

d.  Essays  in  Political  Economy  (Fraser's  Magazine,  1862-3)  ;  reprint 
as  Munera  Pulvcris. 

.-e.  Sesame  and  Lilies  (1865).     Collected  lectures, 
f.  Ethics  of  the  Dust  (1866).     Collected  lectures. 
,g.  Crown  of  Wild  Olive  (1866).     Collected  lectures, 
h.  Time  and  Tide  by  Weare  and  Tyne  (1867)  ;  twenty-five  letters 

newspapers. 

^  i.  Fors  Clavigera  (1871-78).  A  series  of  monthly  letters  *  to  the  wor 
men  and  laborers  of  Great  Britain';  contains  much  autobiograpr. 
material.  Chiefly  a  statement  of  Raskin's  dreams  of  social  rec 
ganization. 

3.  Autobiographical. 
Praeterita  (begun,  1885). 


129 


OUTLINE  LXV 
Matthew  Arnold 

I.  LIFE.  Eldest  son  of  Dr.  Thomas  Arnold,  famous  headmaster  of  Rug' 
Born,  Laleham,  near  Staines,  1822.  Rugby,  1837-41.  Gained  a  schol 
ship  at  Bglliol  College,  Oxford.  Won  Newdigate  prize,  1843.  Fellow 
Oriel  College,  1845.  Private  Secretary  to  Marquis  of  Lansdowne,  18 
Became  Inspector  of  Schools,  1851,  and  married.  Professor  of  Poetry 
Oxtord,  1857-67.  Lectured  in  America,  1883-4  and  1886.  Died  at  Liv 
pool,  1888. 

II.  WORKS. 

1.  Poems. 

a.  The  Strayed  Reveller  and  Other  Poems  (1849). 

b.  Empedocles  on  Etna  and  Other  Poems  (1852). 

c.  Poems    (1853).    Included   Sohrab   and  Rustum,   and   The  Schot 
Gipsy. 

d>  M'erope  (1858). 

e.  New  Poems  (1867).     Included  Thyrsis  and  A  Southern  Night. 

f.  Poems    (1869).     Collective   edition,   first  to  include  Rugby   Chap 
Re-issued  with  slight  additions  (1877;  1885). 

2.  Prose. 

a.  Literary  Criticism. 

On  Translating  Homer  (1861). 

Essays  in  Criticism  (First  Series,  1865).     Included  The  Function 

Criticism  at  the  Present  Time;  The  Literary  Influence  of  Academic 

Heine;  Joubert;  Marcus  Aurelius;  Pagan  and  Medieval  Religio 

Sentiment,  etc 

The  Study  of  Celtic  Literature  (1867). 

Essays  in  Criticism  (Second  Series,  1888).     Included  The  Study 

Poetry;  Milton;  Gray;  Keats;  Wordsworth;  Byron;  Shelley;  Tolsh 

Ami  el. 

b.  Criticism  of  Intellectual  and  Social  Conditions. 
Schools  and  Universities  on  the  Continent  (1868). 

^^  Culture  and  Anarchy  (1869). 
Friendship's  Garland  ( 1871 ) . 
Mixed  Essays  (1879).    Literary  essays,  in  part. 
Irish  Essays  (1882). 
Discourses  in  America  (1885). 

c.  Theological  Criticism. 

St.  'Paul  and  Protestantism  (1870).      . 

Literature  and  Dogma  (1873). 

God  and  the  Bible  (1875). 

Last  Essays  on  Church  and  Religion  (1877). 


131 


OUTLINE  LXVI 
Rossetti  and  Morris 

I.  DANTE  GABRIEL  ROSSETTI. 

1.  Life.     Born,  London,  1828;  son  of  a  scholar  and  poet.     Began  original 
writing  at  age  of  six.     Educated   at   King's   College,   London.  -Studied 
drawing   and   painting.     After   having   done   considerable   literary   work, 
joined  Ford  Madox  Brown,  Holman  Hunt,  Millais,  and  others  in  forming 
the  Pre-Raphaelite  school  of  painting.     Financial  aid  from  Ruskin.     Met 
Edward  Burne-Jones,  Swinburne,  and  William  Morris.     Wrote  and  painted 
prolifically.     Formed  chloral  habit.     Died,  London,  1882.     Unique  in  ob- 
taining equal  celebrity  as  poet  and  as  painter. 

2.  Chief  publications. 

a.  Early  Italian  Poets  (1861),  reprinted  as  Dante  and  his  Circle  (1874). 
Translations  of  sonnets  and  of  other  short  poems  by  Dante,  Guido 
Cavalcanti,  Cino  da  Pistoia,  and  others. 

b.  Poems  (1870).     Contains:     (i)  such  poems  as  The  Blessed  Dampzel, 
Staff  and  Scrip,  The  Portrait,  A  Last  Confession;   (2)    numerous 
sonnets,  many  of  which  were  later  incorporated  into  The  House  of 
Life  (1881). 

c.  Ballads  and  Sonnets  (1881).     Contains:   (i)   ballads, —  Rose  Mary, 
The    White    Ship,    The    Kings    Tragedy;    (2)    lyrics,— Soothsay, 
Chimes,  Parted  Presence,  Possession;  (3)  sonnets. 

d.  Hand  and  Soul.    Published  in  The  Germ,  1850.     The  only  imagina- 
tive work  in  prose  that  Rossetti  completed. 

II.  WILLIAM  MORRIS 

1.  Life.     Born  near  London,  1834.     Educated  at  Marlborough  School  and 
Exeter  College,  Oxford.     Wide  reading.     Enthusiasm  for  Carlyle,  Rus- 
kin, and  Kingsley.     1854-55,  two  visits  to  France.     Worked  at  architec- 
ture and  painting.     With  Rossetti,  Burne-Jones,  and  others,  established 
(1861)  a  firm  for  designing  and  manufacturing  furniture  and  household 
decorations.     1890,  founded  Kelmscott  Press,  at  Hammersmith.     Wrote 
voluminously.     1885,  became  an  active  socialist,  delivering  lectures  and 
contributing  to  The  Commonweal     Died,  1896. 

2.  Works. 

a.  Chief  original  poetical  works. 

Sir  Galahad,  a  Christmas  Mystery  (1858). 

The  Defence  of  Guenevere,  and  Other  Poems  (1858). 

The  Life  and  Death  of  Jason  (1867). 

The  Earthly  Paradise  (1868-70). 

Love  is  Enough  (1872). 

Sigurd  the  Volsung  and  the  Fall  of  the  Niblungs  (1876). 

b.  Romances:  in  prose,  or  in  prose  and  verse. 

A  Dream  of  John  Ball  and  a  King's  Lesson  (1888). 

A  Tale  of  the  House  of  the  Wolfings  (1889). 

The  Roots  of  the  Mountains  (1890). 

The  Story  of  the  Glittering  Plain  (1891). 

News  from  Nowhere  (1891). 

The  Well  at  the  World's  End  (1896). 

c.  Translations. 

Grettis  Saga  (1869)  ;  Vblsuuga  Saga  (1870)  ;  The  JEneids  of  Virgil 
(1876)  :  The  Odyssey  of  Homer 

133 


OUTLINE  LXVII 

Algernon  Charles  Swinburne 

I.  LIFE.  Born,  London,  April,  1837 ;  son  of  Admiral  Charles  Henry  Swin- 
burne. Spent  five  years  at  Eton  College.  1856-60,  Bajlioj... College,  Ox- 
ford. Lett  without  a  degree.  At  the  university  distinguished  Jiimself  in 
Latin,  Greek,  French,  and  Italian;. contributed  to  Undergraduate  Papers; 
began  friendships  with  William  Morris,  Dante  Gabriel  Rossetti,  and 
Edward  Burne-jones.  Traveled  on  Continent,  visiting  Landor  in  Flor- 
ence. Poems  and  Ballads  (1866)  aroused  violent  adverse  criticism  of 
moralists,  to  whom  Swinburne  replied  in  Notes  on  Poems  and  Reviews 
(1866).  Lived  quietly  in  London,  writing  vigorously.  Intimate  with 
Theodore  Watts-Dunton,  with  whom  he  took  up  residence  at  Putney 
Hill,  in  1879.  After  thirty  years  of  retirement  and  voluminous  writing 
here,  he  died,  April  10,  1909. 

II.  WORKS. 

T.  Chief  poetical  publications. 

The  Queen-Mother  and  Rosamond  (1860);  Atalanta  in  Calydon 
(1865);  Chastelard:  a  Tragedy  (1865);  Poems  and  Ballads  (1866); 
Songs  before  Sunrise  (1871)  ;  Bothwell:  a  Tragedy  (1874)  ;  Songs  of 
Two  Nations  (1875)  5  Erechtheus  (1876)  ;  Poems  and  Ballads.  Sec- 
ond Series  (1878)  ;  Studies  in  Song  (1880)  ;  Songs  of  the  Springtides 
(1880)  ;  Mary  Stuart:  a  Tragedy  (iSSi)  ;  Tristram  of  Lyonesse,  and 
Other  Poems  (1882)  ;  A  Century  of  Rondels  (1883)  ;  Marino  Faliero: 
a  Tragedy  (1885);  Gathered  Songs  (1887);  Locrine:  a  Tragedy 
(1887);  Poems  and  Ballads.  Third  Series  (1889);  The  Sisters:  'a 
Tragedy  (1892);  Astrophel  and  Other  Poems  (1894);  The  Tale  of 
Balen  (1896)  ;  Rosamund,  Queen  of  the  Lombards  (1899)  ;  A  Channel 
Passage,  and  Other  Poems  (1904)  ;  The  Duke  of  Gandia  (1908). 

2.  Critical  Writings  in  Prose. 

William  Blake:  a  Critical  Essay  (1868);  George  Chapman  (1875); 
Essays  and  Studies  (1875)'";  A  Study  of  Shakespeare  (1880)  ;  A  Study 
of  Victor  Hugo  (1886)  ;  Miscellanies  (1886)  ;  A  Study  of  Ben  Jorison 
(1889)  ;  The  Age  of  Shakespeare  (1908). 

III.  A  CLASSIFICATION  OF  CHARACTERISTIC  POEMS. 

1.  Tragedies  on  Greek  Models. 

Atalanta  in  Calydon  (1865)  ;  Erechtheus  (1876). 

2.  Tragedies  in  the   Elizabethan   Manner. 

The  Queen-Mother  (1860);  Rosamond  (1860);  Chastelard  (1865); 
Bothwell  (1874)  ;  Mary  Stuart  (1881)  ;  Marino  Faliero  (1885). 

3.  Medieval  Studies. 

Masque  of  Queen  Bersabe  (1866);  A  Christmas  Carol  (1866);  St. 
Dorothy  (1866). 

4.  Classical  and  Hebrew  Lyrical  Themes. 

Ph&dra  (1866);  At  Eleusis  (1866);  Hymn  to  Proserpine  (1866): 
Hesperia  (1866)  ;  Anactoria  (1866)  ;  Aholibah  (1866). 

5.  Odes. 

Athens:  An  Ode  (1882)  ;  The  Armada  (1889). 

6.  Poems  Dealing  With  Nature. 

Thalassius  (1880);  On  the  Cliffs  (1880);  The  Garden  of  Cymodoce 
(1880). 

Narratives.     Tristram  of  Lyonesse  (1882)  ;  Tale  of  Balen  (1896). 
Poems  of  Passion.    Laus  Veneris  (1866);  Faustine  (1866). 

135 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 
BERKELEY 

Return  to  desk  from  which  borrowed. 
This  book  is  DUE  on  the  last  date  stamped  below. 


RV 


120ct'49MB 

2MB 
195*  LV1 


REC'D  LD 
MAY  88 


JUN    8  1961 

LD  21-100ro-9,'48(B399sl6)476 


REC'D  LD 

RUG  2  7  « 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 


